The tattoos we see on screen have long ceased to be mere decoration. Viewers of the series “The Bear” are no longer just discussing the food and characters’ personalities – they are photographing their favorite characters’ sleeves and taking these images straight to tattoo parlors. Behind this wave of copying is a specific person: Los Angeles-based artist Benny Shields, whose work has become one of the most recognizable visual codes of contemporary television.
From Pizza to Hollywood
Shields himself, now 44, never planned a career in film – neither behind the scenes nor on screen. He hails from Rochester, New York, where he delivered pizzas in his youth, and it was this job that inspired his first tattoo. Before moving to the West Coast, he briefly worked for a hip-hop producer in Queens and then apprenticed at a local tattoo shop. By his own admission, the choice was more out of necessity: “I wasn’t going to be an artist, but I was always good at doodling.” He arrived in Los Angeles in 2007 with one bag full of tattoo tools and gradually built a circle of notable clients – from Matt Jones, known for “Breaking Bad,” to Hilary Duff, whom he tattooed along with her bridesmaids before her 2010 wedding to NHL player Mike Comrie.
How Tattoos Became Part of the Script
Shields received his first screen credit thanks to Ryan Gosling – for the film “The Place Beyond the Pines” (2011). The actor was trying to draw tattoo sketches for his biker character himself but couldn’t manage it and called Shields: they were connected because the artist’s brother, Zach, was in Gosling’s band Dead Man’s Bones. Since then, his connection to the industry has not been broken. The real breakthrough came with the series “The Bear,” where Shields created tattoos for chefs Carmy Berzatto (Jeremy Allen White) and Richie (Ebon Moss-Bachrach). White, by the way, was a longtime friend of the artist, for whom Shields had already done permanent tattoos before filming.
It’s important to understand that in “The Bear,” tattoos are not just a detail of the image. According to White, it was conversations with Shields that helped him understand the character: the artist asked about family, about what gives Carmy a sense of security, and together they translated these conversations onto paper. Of the fifteen sketches that made it to the final cut, the most accurate ones appeared on screen. The Pyrex measuring cup with a globe on Carmy’s left forearm was the actor’s own idea, and it’s these details that made the character whole.
Expert Insight: Why This Matters for Tattoo Culture
The “The Bear” case is a prime example of how on-screen tattoos become independent cultural objects. Previously, tattoos in movies were a background attribute of a “cool” character. Now, they function as a narrative tool: each line on an arm tells about the hero’s past, their family, trauma, or choices. For the tattoo industry, this means a shift in perception – a tattoo artist working for film becomes a co-author of the script, not just an executor. And for viewers, it opens a new level of engagement: fans of the series are massively tattooing images from “The Bear,” from the knife piercing a hand to that very measuring cup with a globe. Even the J.Crew sweater from the series went viral and sold out, and Reddit is full of posts with copies of Carmy’s tattoos.
Beyond “The Bear”
Shields’ portfolio extends beyond one series. His projects include:
- Tattoo designs for Alma Har’el’s film “Honey Boy” (2019) starring Shia LaBeouf – the director asked him as a close friend.
- Hand-poked tattoos for “Alien: Romulus,” where he met director Fede Álvarez through their children’s kindergarten. Shields jokes that many “Easter eggs” are hidden in these tattoos, but they are barely visible on screen – the characters wear long sleeves, and everyone ends up dying.
- A residency at the Filson brand store, where he conducts masterclasses with fine-line black and white designs. After stops in Los Angeles and Chicago, the artist worked in Seattle on October 9 and 10.
- A project to design and build a recording studio for producer Noah Goldstein, a Grammy winner who has worked with Rosalía, Frank Ocean, Travis Scott, and Kanye West.
After five seasons of “The Bear,” Shields is returning to music and continues to work in the same format that brought him success – through word-of-mouth. There is no guild or agents for film tattoo artists in the industry, and the artist himself emphasizes: he is “below the line,” not a guild member or a makeup artist. But it is this informality, in his opinion, that makes the work honest. In a world where everyone is looking for their way into the industry, Shields remains one of those who found it without intention – and now his sketches are worn by millions of viewers on screen and on their own skin.