Exclusive interview by Paul Salfen, Text by Christine Thompson for AMFM Magazine
When the producers of the sweeping historical epic Chief of War set out to tell the story of Hawaiian unification from an authentic indigenous perspective, they needed more than costumes and sets — they needed every frame to feel lived-in, respected, and visually unforgettable. That responsibility fell to legendary makeup effects designer Christien Tinsley, the Academy Award-winning artist whose 30-plus-year career includes technical breakthroughs on The Passion of the Christ, Emmy-winning work on Westworld and Behind the Candelabra, and iconic contributions to films like No Country for Old Men, Emancipation, and Fury. In an exclusive conversation with AMFM Magazine’s Paul Salfen, Tinsley revealed how his signature “Yeah, I’ll do it — then I’ll figure it out” philosophy, deep cultural sensitivity, and embrace of digital innovation helped deliver the breathtaking tattoos, skin work, and warrior transformations that make Jason Momoa and the entire cast feel like they stepped out of history.
The Scale of the Undertaking
Tinsley knew from the earliest script meetings that Chief of War would be enormous. “This is going to be a huge undertaking,” he told the showrunners, writers, producers, and even Jason Momoa himself. “I try to give a dose of reality from the beginning.”
What followed was four months of meticulous, 120% supported work in New Zealand. The production gave Tinsley and his team the time and resources rarely afforded in modern television. Every tattoo, every line on background warriors and prospects, every skin tone, every prosthetic element had to honor the heritage and community of the islanders while creating something audiences had never seen before. “Every frame was painted correctly,” Tinsley emphasized. There would be no cutting corners that audiences could spot.
From Hands-On Artist to Overall Designer
Rather than waking at 3:30 a.m. to powder noses, Tinsley deliberately stepped into a broader creative leadership role — overseeing his background department, key performer team, dedicated tattoo department, and skin tanning artists. This shift allowed him to see the bigger picture and truly appreciate the scope of what they were building together.
“I was able to move outside of the minute-to-minute minutia and sort of see it as an overall,” he shared. “That gave more clarity, but also allowed me to appreciate the bigger scope… sitting on a beach somewhere and going, ‘Wow, this is pretty great, you know?’”
He credits the production’s patience and investment — including stunning costumes by Carolina — for making Chief of War feel like true art rather than just entertainment.
The “Yeah, I’ll Do It” Philosophy
Tinsley’s career-defining mantra emerged early: when asked if something could be done, his default answer has always been, “Yeah, I’ll do it. And then I figure out how to do it.”
This fearless approach has put him “in harm’s way of getting fired, being rejected, failing” — but it has also produced some of the industry’s most innovative work. One of his proudest Hail Mary moments came on The Passion of the Christ, where the team created techniques that changed makeup effects forever and earned him an Academy Award for Technical Achievement.
“You either fail big or you succeed big,” Tinsley said with a smile. “That’s been my whole philosophy.”
Midnight Texts from Jason Momoa & the Joy of the Job
Some of Tinsley’s favorite memories from Chief of War weren’t even on set — they were the 2 a.m. text messages from Jason Momoa with fresh ideas for a scene. “Hey buddy, here’s what I think I want to do for this scene.” Tinsley would take the note to the producers and the team would make it happen. “Those are the memories I hold on to.”
Momoa himself? “He’s wild. He’s a bro.” A fearless leader who understands that great art requires giving creative teams the time and trust to do their best work.
Every day on set, Tinsley found himself thinking, “This is great. I get paid to do this.” Especially on Chief of War, where stepping back as an overall designer let him savor the experience more than ever.
Evolving with the Craft
After three decades in the industry, Tinsley is clear-eyed about the future. The work has moved from clay to digital sculpting, printed molds, and precise digital tattoo design. “We’re still artists, we’re still designing, we’re still creating,” he stressed, “but the tools are different and in a lot of ways more precise, more efficient.”
His advice to the next generation? Evolve. “Unfortunately, you have to be better at a computer than you do at clay nowadays.”
What’s Next
Tinsley and his team at Tinsley Studio and Tinsley Transfers are already deep into new projects, including providing tattoos and designs for the upcoming Amazon series God of War. They’re also in discussions on a cosmic, ever-evolving horror film (think John Carpenter’s The Thing but going left field) and other exciting collaborations. Fans can even bring a piece of the magic home — Tinsley’s manufacturing division produces professional-grade prosthetics, tattoos, and effects products available for Halloween and beyond.
Christien Tinsley’s story is a masterclass in saying yes to the impossible, respecting the culture behind every creation, and never losing the joy of the work. Chief of War stands as proof that when the right artist is given the time, resources, and trust, the results can be truly historic.
Thank you, Christien, for the incredible conversation and for the art you continue to bring to the screen. We can’t wait to see what you create next.
