Michaela Jaé on new movie Skincare and why cosmetics are only ‘the ad lib to beauty you already have’
Exclusive: As the Pose icon and Golden Globe winner returns in the new drama with Elizabeth Banks, we about societal beauty standards and loving Charlotte Tilbury
Can you give us the elevator pitch on Skincare?
Michaela Jaé: Skincare is the story of a facialist to the stars, Hope Goldman. It basically tells how her life descends completely into chaos. She becomes convinced that someone is out to destroy her. She takes every step to stop that by all means. Even when others are infiltrating her space, she goes beyond. I think more than anything we have to remember it’s a fictional story that’s based on true events. These possibly aren’t actions she took, but it’s elevated.
Can you tell us a bit more about your character Marine and her beauty look?
I have no problems talking about that! Me and the costume and hair, we were very intricated on how Marine should look. I’m always collaborative. When it comes to a character, I dive right in. But we have the conversations about comfortability. How they’re going to fit. What they’re going to piece it with. I love that it was so collaborative. They’d ask me: ‘What do you think about this shirt? Do you think Marine would wear this? Not you as Michaela, but Marine.’ Not only does that show professionalism at its highest, but it also shows curiosity and willingness. That was the beautiful part of this. Everyone was willing. That’s what brought Marine to life. It takes a village.
What was it like working with Elizabeth Banks?
Fantastic! We are totally different from our characters. That’s what made it so easy to get to know each other outside. That’s what made the connection kismet. There was chemistry, because we knew the differences in our characters. Also, we are both two girls who love our work and take it seriously. We respect each other tremendously for that. Sometimes words don’t have to be spoken, It’s the nod or the smile of approval we give each other when we know we’ve slayed a scene!
Was there a particularly memorable moment on set?
It was the end of the shoot that meant the most to me. We were so focused on set; we wanted to make sure we delivered the best possible product and elevate these characters as much as possible. We got time afterwards to really sit down in the hair and make-up trailer and just… She was like: ‘You’re an amazing actress!’ And I was like: ‘You’re an amazing actress! I’ve been watching you forever! I can’t believe you even considered.’ She was like: ‘Of course babes!’ We hugged so tightly. And even still to this day, I hit her up in her DMs and we keep in contact. I really appreciated that moment at the end. We create these families so quickly, and sometimes these disperse very quickly too. But to have that kind of grounded moment meant the world to me.
Has the film given you food for thought on societal beauty standards and ageing?
Yes. I would say beauty should never be a mask. It should only be for the elevation of the beauty you already have. When that comes to being anti-[ageing], that comes with trying to hold your youth, that should never be the thing that leads your beauty. It’s your beauty. That phrase, beauty is in the eye of the beholder, even though it’s cliché and very dated honey, it still rings true for a lot of people. Everyone’s beautiful to someone. The beauty world, when it comes to cosmetics, or skincare alone, that should be a wonderful ad lib to the beauty you already have.
From Mulholland Drive to Black Swan, the ‘women on the verge of a nervous breakdown’ genre is rich and varied. Do you have any favourites that have similar women in them to Hope?
I never want to see a woman on the [verge] of breakdown, ever! But when we’re in the realm of acting, we’re speaking to things that cause our anger, right? So, I think what would be my favourite, if I’m taking the question right, is The Diary of a Mad Black Woman. I really enjoyed it. It showed that disposition with women is universal. Yes, it comes with many different cultural backgrounds and settings, but the hurt and the scorn is still the same. A woman on the [verge], especially by a man, honey? I would say that’s one of my favourite film. It’s a justified film, for the actions in character in that film, who so happens to be a man, took to ruin her, and she still remains resilient. She defied. I just watched Wicked, honey, and she defied gravity! You feel me? She dared to defy limits. Joan of Arc, that’s another one I love. Milla Jovovich encapsulated her so well. It showed the lengths this character went to change the viewpoints. She went into another gender. These moments for women that are on the [verge] are the thing that we should pay attention to. I never want to see a woman on the [verge], I’ll be very clear about that again. But if it’s for nerve, tenacity strength? Honey, yes! Dispo-freaking-sition to make a change, I love it!
Can you tell us about your personal skincare routine?
Yes. Call me biased, but I’m always using Charlotte Tilbury. The skincare: wake up the morning, exfoliation with a serum. We love our magic serum. Well, first we use oil, let’s do this the right way! The collogen oil makes sure the impurities come out. Then I use her serum. That’s after I’ve exfoliated and washed my face. And then we put on the Magic Cream to seal in the deal. Make that skin dewy, glossy and also finished, so the make-up can go over skin that’s protected. Then the beauty can start baby! The beauty’s already there, but let’s expunge upon it! That’s the skincare routine. I’m loyal to it. I use her Magic Night Cream. We repeat daily.
Did you chat about the movie with Charlotte, Elton John and Kate Moss when you did that iconic photoshoot with them?
That is a really good question. I did not. But that would have been kind of cool to ask them. Charlotte is running [the show], like the busy woman she is. I know Elton is doing the very same, it’s Elton John. They’d probably be like, sorry, ‘can you say that one more time babes?!’ If I did ask, they’d totally see why and how she made the decisions that she made.