Sheila Stotts’ Most Famous Hair Makeover Moments

For the mystical film Prince of Persia: The Sands of Time (2010) Jake Gyllenhaall’s hair was lengthened by Stotts with extensions, altering his hair from 1½ (left) to 8 inches (right) for the role.

For Cameron Diaz’s roles (from left) in The Sweetest Thing (2002), In Her Shoes (2005) and What Happens in Vegas (2008) Stotts added volume, length and a color change with extensions to Diaz’s fine hair. For the W magazine photo shoot in December 2006, pictured far right, Stotts completely transformed Diaz’s look with a brand new length, opposed to her typical short crop, more volume and a drastic color change from bright blonde to a dark chestnut brown.

For Four Christmases (2008), pictured left, Stotts used extensions to change Reese Witherspoons’ cut and color, transforming her dark, layered style into a lighter, A-line long bob with blunt bangs. For This Means War (2012), pictured right, Stotts gave Witherspoon nearly the same treatment, changing her medium bob by adding depth and dimensions, as well as color and layered lengths, with extensions.

For The Assassination of Jesse James (2007), Stotts worked her magic after Brad Pitt’s signature blonde locks (left) were darkened for this role. She brought in hairpieces and attached extensions here and there to help fill out the shape (right).

Taylor Kitsch’s role in the TV show Friday Night Lights was memorable not only for his acting, but for his long locks as well. Yet after the series was cancelled, Kitsch cut his hair for his next role, Battleship (2012), pictured left. When shooting for Disney’s John Carter (2012) began, they needed Kitsch’s hair shoulder length for his warrior role, so Stotts came in and applied extensions to bring back his length (right).

For The Art of Getting By (2011) Emma Roberts came in with a medium dark, layered bob (left), but her role required a longer and lighter style. Stotts achieved the look with extensions, blending colors together for the accurate hue and length (right).

Stotts worked on Elisha Cuthbert for her role in House of Wax (2005), which became one of her personal makeover magic moments. Stotts explained that Cuthbert still had her bleach blonde pixie cut for her role in the TV show 24, pictured left, and the House of Wax execs wanted her to have a longer ‘do and a natural dirty blonde shade to differentiate her from co-star Paris Hilton. Stotts was given five hours to change the length and color of Cuthbert’s hair with extensions and she claims it was one of those moments when even she exceeded her own expectations. “It took 35 years of work to be able to pull that off in five hours,” Stotts said.

For Anna Faris’ roles (from left) in House Bunny (2008), Observe and Report (2009), Yogi Bear (2010), and What’s Your Number (2011), Stotts gave Faris thickness, length and a color change by applying extensions for each of the roles.

From left: For Grey Owl (1999) Stotts applied custom hand-picked gray hair and applied it throughout Pierce Brosnan's entire head, varying the pieces from 18 to 36 inches, long enough so he could wear his hair in braids for the role. A day before shooting the love scene between Brosnan and co-star Rene Russo in The Thomas Crown Affair (1999), a buzzers slipped and ruined the side of Brosnan’s hair. To fix the problem, Stotts applied eyelash sized extensions to the side of his head to camouflage the patch. Stotts is also responsible for a vast majority of the classic hairstyles worn by Bronsan for his James Bond roles throughout the years.

In Contraband (2012) film executives wanted Kate Beckinsale’s hair to transform from brunette (far left) to blonde. After Beckinsale’s hair was lightened, Stotts added extensions to give her a “rooty” vibe, as she says, with lighter tattered ends (middle). For Underworld (2003) and Underworld: Awakening (2012), pictured far right. Stotts ditched Beckinsale’s brunette layered locks for a black/dark navy crop completed with extensions.

From left: In Their Eyes Were Watching God (2005), Halle Berry ditched her iconic short hair for beautiful, curly locks that reached past her waist. For this look, Stotts attached custom natural curly hair to Berry’s 1-inch natural hair to bring the length to 32 inches. Five years later in Frankie & Alice, Stotts transformed Berry’s hair again from a shoulder length style to a classic Afro circa 1960s with the help of her team. “To create the Afro I used two different lengths, and within the two different lengths there were shorter and longer blended lengths as well,” Stotts explained. “I steam-permed naturally curly hair into two different-sized curls and built the shape of the Afro with the extensions themselves.”