For over the past two decades, super producer Tyler Perry has been churning out dramas and comedies on the big and small screen, and even the stage. Despite his loyal fanbase, going from homeless to billionaire status, and building his own 330-acre production company named after himself outside of Atlanta, there are still those who believe some details in his work are too hard to miss.

Perry began to make a name for himself in the 2000s with his films “Madea’s Family Reunion,” “I Can Do Bad All By Myself,” and “Diary of a Mad Black Woman,” which cast Shemar Moore, whose character wore a braided wig that depicted a set of cornrows. Following that moment, Perry was flooded with harsh backlash after people started to question his hair selections for his cast. 

So when Perry was gearing up to shoot his latest film, “Mea Culpa,” starring Kelly Rowland and Trevante Rhodes, he knew he had to make some changes. 

Perry hired veteran hairstylist Joyce Gilliard, who spent the formative years of her career as “the only Black hair stylist onset for Black actors and actresses.” She has also worked on "The Color Purple," "Rustin," and "Bel-Air." 

"We worked well together and we just wanted to make sure that we brought together our skills and talent to show that Tyler Perry does amazing films and the hair can be great all the time,” said Gilliard about her dream team of seven licensed hair stylists and barbers on the set of the Netflix film.

BET.com had an unfiltered conversation with Gilliard who kept it real on how she managed the looks for the cast during the two-week production schedule in Atlanta, Chicago and the Dominican Republic and the pressure of breaking the wig curse that has haunted Perry productions in the past.

BET.com: What was it like to work on the set of this movie with Perry? 

Joyce Gilliard: It was definitely an experience. A typical day on the set of TPS is a fast-paced environment. Tyler Perry shoots everything fast. And things change all the time. So you have to be ready for the changes as they come. So my day consisted of me staying in the trailer and making sure I had wigs already prepped and ready. So if there was a change, we'd be able to just take something off and throw it on. 

BET.com: As fine as Trevante Rhoades naturally is, and that brotha is fine, he too required hair services. How was his hair cared for during this film?

Joyce Gilliard: He actually had his personal barber that he takes with him on every show. So when he [Marcus Davis] got the call that he was going to be working with Trevante, he was excited. He's a phenomenal Barber. 

BET.com: In the past, Perry has received much scrutiny from the public who believe hairstyles in his TV shows and films are undone, including wigs that do not look realistic or other details that have garnered criticism on social media. Was there a collaborative effort between you and Perry to ensure this production was spared from that type of criticism? 

Joyce Gilliard: Going in, I vowed I was not going to be that person that everybody was talking about. My strategy was to order really good wigs and I made sure that I had a team of stylists who knew how to apply the wigs so you wouldn't see the lace. Every day at work, I would be making sure the lace wasn't showing [and] that the hair was laid. Tyler pretty much gives you free rein. But he does not say anything unless he doesn't like it. He said to me, "Joyce, make sure these wigs look good because they've been giving me crap over wigs all these years. I do not want that on this."

I think that creatively as a team, we did really well to make sure that the hair was good and wasn't going to be talked about.

BET.com: Do you ever get a rush of inspiration in the moment that makes you change an entire look and start over from scratch?

Joyce Gilliard: I'm inspired all the time because it's more than just the character the actor is playing. You have to look at their head and facial structure because something you think might look good on a person, might not look right if their head is too small or too big. Sometimes these units [wigs] are too big and you have to attach them and make them fit. So we had a lot of wig customizations on people's heads so that they would fit.

BET.com: We continue to hear stories from actors who say they’ve had disappointing experiences during the hair trailer because the hairstylist did not know how to style their hair. Do you think Black cast members breathe a sigh of relief when they see your name on the call sheet?

Joyce Gilliard: All the time. Every set I am on, literally. That's what they do. They'll come up to me and whisper in my ear, "I'm so glad you're here."

At the same time, we take for granted that all Black stylists can do Black hair, and that's not the case. As soon as an actor or actress sits in a chair [of an unskilled stylist], they can smell fear.

BET.com: What is your reaction when talent is happy to see you on set?

Joyce Gilliard: It makes me feel really good inside to know that I'm helping with their confidence level because it starts in the hair and makeup trailer. So when they come to our trailer and they look good and feel great and feel comfortable in their skin because their hair is done, I feel like my job is done because when they leave the trailer, they're going to go in front of that camera and give their best performance. 

BET.com: Throughout your history, which dates back nearly 20 years, you’ve worked with some of the brightest in the industry. Have you noticed a difference in the way Black-led productions are conducted versus non-Black ones?

Joyce Gilliard: From what I've experienced as a Black person in the department head position, there is a difference working on set because we have to know how to do everybody's hair. We have to know how to do every hair texture. We have to be a well-rounded, multicultural hairstylist. When I work with white hair stylists, they get by. They don't have to know how to do everything. When you're a department head as a Black hair stylist, you might be that token Black hairstylist. I'm not saying this happens all the time, but it is definitely a difference. 

BET.com: What do you recommend needs to happen to ensure every actor gets equitable treatment, despite hair texture?

Joyce Gilliard: I believe everyone needs to stay educated and keep up with the latest trends because techniques and products are evolving. We have to stay on top of our game. We have to be willing to learn from new-school hairstylists who have new techniques and new things that they do that a lot of actors want. What we did back in the day, we're not really doing [today] like Marcel curling irons. Now, everybody's curling hair with a flat iron. So if anyone sits in your chair, you need to be able to do hair, especially naturally textured hair, including 4C curls. I don't care what color you are, you need to learn how to do natural hair because Black people are not wearing relaxers like they used to. We have to be able to use the correct products, the correct tools, and the correct styles for these actors to fit their face structures and their hair textures.

BET.com: What Black trailblazers would you like to work with next?

Joyce Gilliard: The OBAMAS [because] they have a production company. I would love to either work closely with them behind the scenes to produce meaningful films or be able to work as the lead hairstylist on the project.

BET.com: As we prepare for Spring, tell us your favorite makeup brands that will give us a radiant glow for day or night. And what hairstyles do you foresee people rocking as the temperatures heat up?

Joyce Gilliard: Everyone wants healthy, glowing, and fresh skin. So I don't even perceive people to wear as much makeup because they want their natural glow, [but] I really like E.L.F. because the colors are pigmented and they really work. And I love MAC. 

For spring and summer, we will see short cuts and color. Blonde hair color and pixie cuts will come back this summer. Boho braids will not go away anytime because they have a natural feel.