Behind the Scenes with Moira Frazier | Emmy-Nominated Hair Department Head of Abbott Elementary

0:07 Welcome to Look Behind the Look, the celebrated podcast that explores your favorite looks in film, television, and fashion history. Through conversations with the fashion world's elite and award-winning hair, makeup, and costume designers on sets around the world, you will see and hear exciting tales from behind the scenes, career origin stories, and tons of advice and tips. I'm your host, Tiffany Bartok. Hey everybody, welcome to Look Behind the Look where Emmy nominees are now being considered. The voting is open and my next guest has been nominated twice for an Emmy for her outstanding work on Abbott Elementary in the hair department. She's the hair department head and her work also got her two Hollywood makeup artist and hairstylist guild awards for best contemporary hairstyling on the show.

0:53 She's going for one more of those Emmy nominations and maybe a win this year. Please listen to this episode with Morea Frazier of Abbott Elementary. Hey, Maria, how are you? Oh, fixing your hair. Beautiful. Look at that. It's gorgeous. You have been here with me three times. And so that is so exciting for me because I've gotten to know you and watch your career just... explode and you know this has been a long time coming that you're getting recognized the way that that you are I know you've worked really hard and now the spotlight's been on you for this whole time that you've been with Abbott which is so exciting you're a two-time nominee for the Emmys you your work is award-winning on the show what do you think is the reason like what what's making it so recognizable and and and accomplished.

1:57 I think people can feel the love and intention that I put me and my team put in the hairstyles that you guys are seeing across the screen. I think they can feel that through the hair. I know that sounds so crazy. No, it doesn't. No, it doesn't sound crazy at all. I totally hear what you're saying and see it too. I think that they can feel it. And, you know, we come from such humble beginnings and just humble backgrounds. And I feel like that that's just the way to be. Yeah. You know, it just is. Yeah. I've seen the evolution of the characters through the hair for sure and all the glam. And what are some of the things that you've noticed that you've really tried to bring out?

2:41 Like, especially, I guess, I mean, the easiest call out is Janelle. Like her look is Ava's look has evolved so much into really telling us who she is and her character has developed so much. But Quinta too. And what are some of the things that you guys are keeping in mind while you're developing those looks? We're keeping in mind the evolution of their characters. Like with Janine's character, it was all about telling a story. Like literally from beginning to end, and you can see its transformation through hair. But this past season, it became more evident because it's stronger now.

3:22 And when I say stronger, I mean Janine is stronger in her appearance. And that goes across the floor from hair, makeup, wardrobe. Everything is more streamlined. It's not more so like, OK, I'm trying to figure out how does my hair look today or it's not going to look crazy. No, she has a new boyfriend. Like she has this new love life and she's navigating. She's navigating all of these things. Doesn't necessarily need everybody's advice all the time or validation. You know what I mean? Right. When you stop needing people's validation, that's when you can start walking in what you know how to walk in, which is your appearance. Wow. Yeah. And as far as Ava is concerned, Ava in the beginning of her evolution, it was all like hair, hair, hair, every single, you know, everything was all over the place and not in a bad way, but it was like, I can switch in the drop of a hat.

4:16 I can switch this hair to that hair. It's going to fit my mood. If I want to be blind, I'll be blind. But this season, her looks were made with intention and A lot of episodes, you will see her more so in a more relaxed and more professional mode because she wanted to be taken seriously. Let's look at her taking her principal role serious. So we did a more hero stationary look with her... With her ombre, her ombre burgundy type hair. And we made that, you know, more straight when she wanted to be conservative. And then we made it a little bit more curly when she wanted to be a little flirty with her new boo. But these are all things that she's experiencing.

4:59 It's more of her like maturity, her maturity level. It has come to, like we're seeing it on stage. I mean, not on stage, but we're seeing it on camera. We're seeing it evolve right before our eyes. And then even Barbara, for her to have such a solid pillar look throughout all of the entire show from beginning to now. And then one thing can cause her to pop a blind track in her hair because I need to look a little different. I ain't gonna go all the way, but I put a little track here. I love that. Yes. Oh my goodness. And, and you even did, you did some Guinea pig work this week, this season as well.

5:44 Tell me about that. That was, that was crazy. Oh, when they wrote that we need, um, The guinea pig had a wig that looks like Melissa's. I said, now what in the world? How do I do that? But I managed to do that. Yes, you did. And another little Easter egg. That's what I hear a lot of people talking about. I know that's the thing now, right? So there was this one episode outside of me making a wig for a guinea pig. There was this one episode where we had to do a mini Ava ornament. And for that, I had to actually make a wig for a small doll as well so that I can be able to for it to look exactly like Ava and it had to match the color and everything so that was a fun that was a fun little task oh my god a lot of crazy stuff to see yes yes always I mean you always are rising up to the challenge for sure yes the Halloween episode of course was extraordinary can you tell me about that and the blade look especially oh my god that was amazing Oh, it was so iconic for us to be able to create these iconic characters through our pop culture.

7:07 Pop culture. I'm such a big movie head. I love it. But to go back to what you were saying for Blade, we wanted to make her the female version of Blade. Yeah. It's like if they ever came out with Blade's sister, that's what we would imagine her to look like. Why don't they do that? Hello, who's listening? Blade's sister needs an origin story. We need this character. Yes. But yes, like I said, Blade's sister or the female version of Blade. And that's why we went with that more defined look, kind of giving off a little bit of Grace Jones.

7:53 Yeah. I got that research. But yeah, we but we still wanted to make it feminine, but not so feminine. So it kind of felt it felt right at the it was a beautiful balance. That's the right way. Yeah, yeah. What were some of the key elements to make sure that it was really hitting? Oh, gosh. So, I mean, in my mind, I would have loved a bigger version. Ah, okay. So, tell me about that. Like, when you propose a bigger version, what's that conversation like? I want a bigger version. Yeah. No. Okay. Moving on. And it's okay. Yeah, of course. Because as a stylist and as a department here, you have to be able to adapt to the vision.

8:37 And for this, it just made sense to make it more, you know, Grace Jones vibes, which is basically what we were going for. And it just worked out perfectly. So... To that, when you have, who's presenting the vision for a Halloween episode? How does that begin? How does that process begin? That process begins, well, first of all, I'm always, we have to dissect the script. Right. So I always come up with the mood board and how it should look and that nature. And I also pick Quinta's brain too, just to see, okay, well, what is the intention behind this? And whoever writes that episode, it's more of a collaborative thing.

9:20 So every episode is different. Sometimes we have different writers each episode, along with different directors each episode. So that's why when we have these production meetings, it's very, very important for you to ask all the questions you ask. Yeah. No surprises. Yeah. And it can be a little intimidating when you're a bunch of, you know, executives, all the things, but you got to make sure you are doing your part in the story that everyone is telling and that it all comes together. So I'll always lead with that. And I'll show mood boards mainly, mainly it's between me and Quinta.

10:00 And sometimes I'll ask others for clarity as well. Um, and usually we're always on the money with it. So yeah, that's how it works. Yeah. Yeah. You've got a rhythm that, and a, and a way of collaborating that, that you can probably sort of tell what people are going to go for and what they're not going to go for at this point. Yeah. Um, now talk to me technically about Shirley Ralph's wig being submerged and how, how I see your face. Tell me about this. so we don't use glue on our show that's what I'm that's what I'm getting to I knew yeah man we don't use glue I know I've been saying it and this particular episode they wanted to dunk her head and it's so funny because we were in our production meeting and they was like oh we'll just do it like two times two three times and I was like okay but her hair will not be submerged it won't be submerged I was like Y'all, it's going to be impossible for it not to be submerged.

11:05 And they was like, no, we promised Maria it's not going to be submerged. I was like, okay, cool. I still prepared for it to be submerged. Good for you. I had to pin that baby down to where it wouldn't, even if it tried. But thank God for the type of lace that I use to ventilate her wigs. So even if it did get wet, whatever happened, it was able to melt on camera. Melt meaning, I shouldn't say melt because that's not a good word. It was able to disappear on camera and not be detectable because we do shoot in 8K. So I had... Tuck here, tuck there, pull here, pull there, pin, pin, pin.

11:46 And before you know it, she was dunking her head in about 27 times. And I was in the background like, oh, my God. But you got the shot. Oh my God. I have a lace lock melt. That's right. Thank you. I'm so sorry. Yes. Okay. I did not invent the lace. No, no, no. Make the wigs. So I gather materials like different types of lace. And when I'm building these wigs, cause I build all the wigs for Abbott. So when I'm building these wigs, every piece of lace that I'm using serves a purpose and Um, and yeah, so that's pretty much the process of it.

12:29 Um, certain lace goes in certain areas. So for a client, not a client, but like for an actor like Janelle, well, no, let's talk about Barbara for an actor like Barbara's character. Um, we would do like super, super fine lace in the, in the front. So when you can't not see important wig makers, it's important that you don't want to skimp On, you know, I know a lot of times production companies may not have the budget to do super, super high quality, but there's a way that you can hack it to where you can only use that super fine lace right along the edge. So when those cameras come on, you're not picking up any like lace.

13:13 You can't see. and it'll disappear on camera and that's what you want because right now these cameras are getting better and better and better we we you can't hide a lot of things like they did when they were shooting it in film um and when i say film right i'm like there's different types of cameras i don't know the technical so please don't judge me i know Nobody knows what I know, but I know. But at the end of the day, there is there is I as a wig maker and a department head, I have to infuse the two together. in order to bring these visions to life for you so that it can appear real. The two together, the cameras that you're using and the supplies.

13:56 The knowledge of the camera and also lighting. Lighting is so, so, so important as well and understanding the lighting. So when I say I'm blending the two together, I'm blending my hair making skills with my wig making skills. Okay. All together. And also the knowledge of camera and lighting. so that it can be able to be just as seamless and undetectable to your TV screens. Of course, which are just getting blown up to oblivion. And that's scary. It's very scary. Like a horror movie. Isn't it wild though? There's people on the subway watching Abbott like this in a handheld device. And then, you know, you walk into like a restaurant and there it is huge on the screen projected.

14:41 Like you have skills for this to be... To be projected like that in 8K. It's just so stressful. I can't even think about it. I humbly. I humbly. it and accept it you accept the challenge ways to hack it every day yeah yeah what do you what's your advice to a department head who might not have the budget because I know like you might have started out with pushback and now as the show is getting successful you you can get these things that you ask for right like like the extraordinary yeah I know. Yeah, I knew that about you. I guess it's a little different for me because I'm better with the budget.

15:26 For a lot of department heads, they have to outsource. So there's nothing wrong with outsourcing. Sometimes if I can't make it in 24 hours, in most cases, yeah, I have to outsource. But sometimes... as a department head, you have to outsource. And the quickest thing that I can suggest for somebody who may not have the time, try to get with a good wig maker that have a very, very fast turnaround. I know that that's not possible. I know, well, I like for me, and I'm not trying to put myself out there, but I am. I know I can make wigs in like five days, seven days.

16:08 I can do a whole front in like literally under 24 hours. I just did one for a show that I can't talk about right now. But a friend of mine had gave me a call and was like, we need this wig tomorrow because the actress comes in Monday and I can get the wig to you Tuesday, but we need it on Wednesday because she shoots Wednesday morning. And I'm like, so I have a day. Right, exactly. You're like, let me do the math. I got a day, but, um, I ended up working itself out. I want to encourage department heads and also other hairstylists to take those wig making classes, make sure that you're always on top of your game because you never know.

16:49 And the more you practice, the faster you'll get and you'll be able to troubleshoot in any situation, such as if you don't really have a big budget like that. Because a lot of times they don't and everybody don't always have the budget to see a hairline. So sometimes you got to Some of these actors got to wear bang. Some of these actors got to, you know, there's different ways that you can do it. And also pull out your old school, you know, skills from back in the day. You might have to do a quick wig cap if they can't do it in lace. You know what I mean? Oh, amazing. You're always so full of like great advice and you're such a great educator. I mean, anybody who is following you knows all the secrets.

17:31 Yeah. And you're so generous, and you don't gatekeep, and I love that about you so much. Thank you. Yes. I know I have a limited amount of time with you today. You're such a busy bee, but I am so appreciative of you coming on and talking to me again. Third time is a charm. I know you're going to get it this time, and I love seeing all the success in your career, Moriah. It's amazing. Yeah. thank you so much yes always hope for the best always always thank you so much maria thank you look behind the look is a vinyl foot production written by me your host tiffany bartok produced by jace bartok edited by mugresh tekor if you're interested in learning more find our video version on the youtube channel look behind the look podcast there you can see rare photos and clips from our guests And please follow us on Twitter at Look Behind Pod and Instagram at Look Behind the Look.

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