Makeup Ebook

Make-up For Beginners

Make-Up for Beginners: Learn Doing Make-Up like a Pro is an online course created by Lana Vallo. It helps individuals do their makeups in a professional way such that they are durable, last for long and enhance beauty. It transforms you into an expert that other people will turn to for help over and over. Subscribing to this program guarantees you more beautiful than ever before. The course was designed following an increasing demand for brand-neutral, timely, and professional advice on the skill of makeup. Enrolling to the course does not require any special tool or requirements. Nonetheless, once you are done with the sessions you will require professional makeup brushes and other necessary tools including a complete makeup kit. It will also be necessary that you find a model for putting into practice all the strategies covered by the video tutorials, especially if you aspire to do makeups for other individuals. This is a fantastic program with thousands of positive reviews. It will significantly improve your skills and make you an expert in the makeup industry. Payment is processed via ClickBank and the product has a 60-day warranty. Read more...

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The Makeup Department

The makeup department on a major motion picture is nothing to be taken lightly. It is the first department of many that the actor comes in contact with on a film set. It is comprised of the following jobs KEY MAKEUP ARTIST This person has the last word on designing the look for all the characters on the film. She is an important crew member who is privy to the way each character is supposed to look for each appearance in front of the camera. She designs the makeup and hair and oversees any special effects, wounds, alien protrusions, prostheses, etc. Makeup is very important to maintaining the time continuity of the picture and the key makeup artist is like the foreman of a crew who makes sure that once the makeup is designed, the continuity is maintained and the style of the movie is serviced. The key makeup artist is in charge of et ASSISTANT MAKEUP ARTISTS These are the assistants to the key makeup artist who apply the designed makeup on the actors. One of them will be on set to do...


There are three kinds of makeup artists straight makeup, sometimes called street, which enhances an actor's features using cosmetics and corrective makeup character makeup, which transforms an actor through facial prosthesis and other devices and special effects (FX) makeup, employing mechanical devices such as robotic inserts. All three work closely with the director, cinematographer, and costume designer. Incorporating these three divisions, makeup's complex work can be loosely broken into the two categories of cosmetics and special effects. The former also radicalized the cosmetics industry. Often the two merge, but the makeup industry began with the need to accentuate the face and to deal with the drastic differences between stage and cinema. Film makeup received no formal recognition until the 1940s and no Academy Award recognition until 1981, although William Tuttle (b. 1911) was given an honorary Oscar for 7 Faces of Dr. Lao (1964) and John Chambers (1923-2001) received one for...

Makeup Effects

Makeup effects are quite similar to creature effects with the exception that they are usually designed to fit over some part of an actor's anatomy. While a creature suit may be designed to be worn by a performer, makeup is applied directly to the actor. A lot of the steps are the same, though, along with the addition of some new ones. For this example, we will assume the makeup is being done to the actor's face, although the same steps apply to whatever is being made up. There are two types of makeup two-dimensional and three-dimensional. Two-dimensional, or flat, makeup is exactly what it sounds like. These are the effects done solely with color and shading. Creating a bruise is a perfect example of flat makeup. If you get into the makeup effects field in any capacity, you should have at least a working knowledge of two-dimensional makeup. Even beauty makeup is helpful, which we talked about in more detail in Chapter 6. Three-dimensional makeup is what is commonly meant when someone...

Makeup Designer

The makeup designer's job is to make somebody look different than she or he really looks. All designs are based on the requirement that the makeup has to fit an actor. Also taken into account is the time the actor will have to spend having the makeup reapplied every day of the shoot, as opposed to a creature, which can be put on and taken off as easily as a rubber mask. The application can take a long time. To turn Jim Carrey into the Grinch required hours of sitting in a chair every morning before the rest of the crew showed up. The same type of skills apply to makeup design as to creature design, although most makeup artists will actually sculpt their makeup creations themselves as opposed to having someone else do it. This is a general rule and doesn't hold true for all shops.

Makeup Artist

When the actors report for the day, one of the first places they hit, after the craft service table, is the makeup department. Everybody on camera has to wear some makeup, even if it's just to bring out the person's natural color under all the lights. If the scene calls for a high-society party or a prehistoric tribal gathering, then the makeup on the leads should reflect that. It is up to the makeup artist to apply the actors' makeup in the morning and touch it up as the day goes on. William Billy Thomasson didn't want to get involved with makeup, but when he did, he hit the ground running. Originally, I wanted to be an actor. I was going to college as a drama major and had to take a makeup class as part of my course requirement. I didn't want to learn anything about makeup I thought it was something for girls to put on me while I was in my star trailer. The first day of class, in staggers the professor, looking all beat-up, Billy recalls. He had a black eye, and his nose was...

Makeup Applicator

If you love special effects and you want to work with celebrities, this is the job for you. The applicator takes all the sculpted pieces of latex, called appliances, that have been created from the actor's life cast and attaches them to the actor. The appliances are the special effect additions to the actor's face that were created by the sculptor and are applied using spirit gum or some other nontoxic adhesive. Makeup is used to blend the color to match with the actor's face so the camera can't tell where one stops and the other begins. You must have a feel for colors and shadings, as well as a large amount of patience, for this job. When the actor is sitting in the chair for hours every day, you are right there conversing, making him or her feel at ease while you're gluing on laser burns or cybernetic features. A background in regular makeup might also prove beneficial when it comes time to do the actual blending.

For Further Information

Elias Root Beadle, a minister during the 1800s, wrote, Half the work that is done in this world is to make things appear what they are not. For all we know, he could have been talking about the costume and makeup departments of any feature film, whose job it is to make things appear how the director wants them. If you enjoy this kind of playful subterfuge, the following books should give you a head start. Buchman, Herman. Stage Makeup. New York Watson-Guptil Publications. Corson, Richard. Stage Makeup, 9th Edition. Boston Allyn & Bacon. Wiese Productions. Place, Stan Campbell. The Art and Science of Professional Makeup. Clifton Park, NY Milady Publishing.

Some Important Color Films

Notable uses of color in film include Sven Nykvist's (b. 1922) symphony of red and green in Viskningar och rop (Cries and Whispers, Ingmar Bergman, 1972, in Eastmancolor) and the sunset-lit palette Nykvist utilized in What's Eating Gilbert Grape (Lasse Hallstrom, 1993) Jean-Luc Godard's (b. 1930) primary-colored text blocks as part of the rhythmic design of Weekend (shot by Raoul Coutard in Eastmancolor, 1967) and the effects produced by the cinematographer Gordon Willis (working with designer Mel Bourne, decorators Mario Mazzola and Daniel Robert, costume designer Joel Schumacher, and makeup artist Fern Buchner) for Interiors (Woody Allen, 1978), in which a perfectly coordinated, subdued, even shackled bourgeois environment set out in a range of beige tones costumes, walls, curtains, vases, complexions, shadows, everything is suddenly disrupted after a matriarch's suicide by the appearance of the father's new girlfriend, dressed in explosive scarlet.

The sounds of hybridity

Good camp that it is, Madame X highlights the material, sensual features of its figures their makeup, their costumes, their movements. After the crew's pirate raid, the booty is inventoried so as to underscore its lush physicality Ninety-seven cushions of crimson damask laid with silver parchments, footstools with cloth tissue, and thirteen yellow satin chairs. As these references to textures, fabrics, and tactility demonstrate, camp is

UKUSWest Germany Director John Huston

Producer Wieland Schulz-Keil, Chris Sievernich, William J. Quigley (executive) screenplay Tony Huston, from a story by James Joyce cinematographer Fred Murphy editor Roberto Silvi music Alex North casting Nuala Moiselle production design Stephen B. Grimes, J. Dennis Washington set decoration Josie MacAvin costume design Dorothy Jeakins production manager Tom Shaw makeup Fern Buchner, Keis Maes, Anthony Cortino, Louise Dowling, Anne Dunne, Christopher Shihar.

Black Flies in Florida

The weather made it quite difficult to shoot there, actually. There were often times when we had to stop shooting because those black flies were just covering everything. I think Johnny had it the worst, because he was covered from head to toe in leather and makeup and didn't have any hands. It's hot

Honorable Mention Irving Thalberg

Man of a Thousand Faces (Universal, 1957) In addition to The Last Tycoon, there is one other film that features the character of Irving Thalberg in the plot, and that is Man of a Thousand Faces, starring James Cagney as character actor Lon Chaney. Interestingly enough, actor-turned-studio-executive himself, Robert Evans, portrays Thalberg and is featured sporadically throughout the narrative as the studio exec that continuously supports Chaney's unique career moves in choosing acting roles that required contortionist actions and heavy makeup. This movie features Thalberg in his role as studio mentor, showing his personal concern for the careers of his actors, both personally and professionally.

Continuity Coverage And Chaos Iife On The

The first people to arrive on the morning of the shoot are usually the electricians. For one thing, almost anything that anybody has to do on a set requires power, and the sparkies are in charge of providing that. They will run power to the makeup trailer for makeup lights, to catering for coffee, and to the camera crew to charge their batteries. After the actors have run the scene to the director's satisfaction (full-out acting is rarely necessary doing the right movements will suffice), they are sent off to makeup. Immediately, the lighting and grip crews attack the set, putting up the lighting and grip equipment under the direction of the gaffer and key grip, both of whom are following the DP's instructions. The grips must also set up the dolly and track if one is in use. Once that is done, the camera crew members slide up with their expensive toys and begin to find their place. As the lighting is taking shape, the crew will call for stand-ins, actors or PAs who must sit quietly...

Risky Production Decision

200,000 ceiling requirement (which I'll discuss more thoroughly later). Partially because I thought she could do it, and it would be a useful way for me to find out about what was going on from the inside, since people didn't know we were dating. And partially because I found her personality so upbeat and quirky that I believed it would translate well onto set. The first people the actors encounter each morning as they arrive, tired and wary, are the makeup person and the craft-services person. And depending on how these two people interact with the actors, the day can start off on a positive note, or on a negative note, and what follows may have nothing to do with the director's skill, or the merits of the script, or all the talent involved rather it would fall under the umbrella of that phenomenon known as the magic between the frames. You'll never know whom to blame it on, but something just went wrong . . . You can see, therefore, that serious consideration should be given to the...

Principal Photography

By the first day of filming, every member of the crew is expected to be familiar with the shooting schedule, and all the necessary equipment for the day's work should be available. Each member of the crew is provided with a call sheet, itemizing when and why they are required on set. The sets will have been built and dressed, and lights positioned in accordance with the scheme agreed by the director and the director of photography. Cameras and microphones are positioned and camera movements and lighting adjustments are rehearsed with the help of stand-ins who walk through the actions. Marks are placed on the floor to ensure that actors make the same movements when the scene is shot. While this is going on, the actors spend time in costume, hair, and makeup. Once the technical aspects of shooting the scene have been firmly established and the actors are dressed, they are called to the set. At the discretion of the director, some time is normally spent rehearsing before the scene is...

Building the Network Learning the Prototypes

One person may learn to depend more heavily on one source of emotional input, and data from that source may become more heavily weighted in the system's functioning (for example, actors trained to be particularly aware of body posture may find that a characteristic gesture allows them to feel a character's emotions). Individual experience can also alter the emotional makeup systemwide. If people are encouraged not to express or acknowledge emotion, over time their thresholds for activating the emotion system may rise.

Techniques and Cautions

In feature films, the emphasis in location shooting is on cheapness, exoticism, and reasonable working conditions. Accuracy and authenticity are usually the last items mentioned. But authenticity is the key to docudrama, especially in regard to period and physical setting. In Strike, several hundred still photographs were used to show Poland and Gdansk in the early 1970s. These provided references not only for design, wardrobe, and makeup but also for casting the actors. In Ninety Days, Ruth First worked with the designer so that the feeling of the cell and the South African prison would be as accurate as possible.

An Invitation to Interpret

There are limits, however, to how far this approach can go in examining the emotional interaction between text and viewer. The model in this book is first and foremost concerned with texts and narrational structures. Texts offer invitations to feel, and individual viewers can accept or reject these invitations. Textually centered critics who understand the makeup of the emotion system can create useful readings of how a film makes its emotional appeal. What this approach can never do, however, is to predict and explain individual viewers' emotional responses to films. The emotion system that is being studied by cognitive psychologists is too complex, too flexible for it to be possible to explain all possible responses in a mass audience. This book shows that in spite of the emotion system's flexibility, textually based critics can still provide specific insight into the way cinematic narrational structures encourage us to feel. A textually based approach to analyzing the interaction...

Congratulations You Got the Part

Thing to do before a shoot day, because, invariably, it's going to change. So just get a good night's sleep or whatever. You should always ask if you can take the script, and if you do don't over-study it because the likelihood is that you're going to show up the next morning and in makeup they're going to show you a script that's got juuust enough different stuff that it's going to make you crazy.

Nihilism Noir and The Sopranos

Of even greater interest in the present context is the question of whether nihilism and perspectivism are even coherent positions. If to say that something matters is to express one's concern with that thing, then to say that nothing matters is presumably to express one's unconcern about absolutely everything. To say, with the nihilist, that nothing matters, not even oneself would seem to express one's unconcern with everything, including those merely subjective interests and preferences that give content to the perspectivist approach in the first place. Tony Soprano is not a nihilist in this sense, for he is very much concerned with his own interests and preferences he wants power and the respect that power brings he wants success in his criminal enterprises and he wants the pleasures of good food and sex. This is by no means all there is to Tony's complex psychological makeup, as Stoehr shows in his illuminating section on animals and animosity. But on any ordinary construal of...

Great Britain Director Ken Loach

Producer Rebecca O'Brien executive producer Ulrich Felsberg screenplay Paul Laverty photography Barry Ackroyd editor Jonathan Morris production design Martin Johnson casting Gillian Berrie, Steven Mochrie music George Fenton makeup Anastasia Shirley sound Ray Beckett, John Hayward.

New Looks Glamour Design and Cinema

Anti-American feeling amongst the British elite was further heightened from 1958 onwards when import restrictions were dropped and there was a surge of imports and American investment in Britain. By 1966 there were some 1,600 American subsidiaries or Anglo-American firms in Britain, worth almost 6 billion in terms of investment, America's second largest overseas investment after Canada. The companies employed 6 per cent of the workforce and produced 10 per cent of goods made in British factories. As in the pre-war era, investment was in the manufacture of new consumer goods, such as cars, cosmetics, vacuum cleaners and processed food. Frozen food, TV dinners, supermarkets, barbecues, Tupperware and new, bigger cars were revolutionizing British life. Whilst this led to renewed panic amongst cultural commentators and politicians, for the consumer it meant novelty and fun after the dreary war years. Hollywood star endorsement of beauty products continued unabated during the 1950s. Most...

Sweet Sweetbacks Baadasssss Song

Producers Jerry Gross, Melvin Van Peebles screenplay Melvin Van Peebles cinematography Bob Maxwell assistant director Clyde Houston editor Melvin Van Peebles sound editors John Newman, Luke Wolfram musical score Melvin Van Peebles production manager Clyde Houston original music Earth Wind and Fire special effects Cliff Wenger makeup supervisor Nora Maxwell.

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Earle's sympathetic relationship with club-footed Velma would have been unthinkable in earlier Bogart incarnations. She knows him as 'Roy Collins', staying 'up in the mountains for my health'. Perhaps because of his duplicity, their relationship is doomed. For his kindness in paying 400 for her operation, her grandfather says that Roy is 'The best man who ever lived', but 'Doc' Banton, quoting Dillinger, notes that men like Earle are 'just rushing toward death'. Earle and Velma are completely mismatched. She has a sweetheart back home named Lon and as soon as she is well, she is seen in gaudy dress and makeup. She wants to 'live a little' and is soon to marry Lon. 'That's swell,' says Roy with a face like thunder. These and other scenes in the film show Earle for the 'sap' he is - too trusting of human nature and equally resentful when he is treated untrustworthily.

The Parallax View Chinatown

However, the phrase ''disaster movie'' is specifically associated with a cycle of films in the 1970s, beginning with Airport (1970) and proceeding through The Poseidon Adventure, Earthquake, Airport 1975, The Towering Inferno, and so on. This set of big-budget, highly successful movies is characterized by two distinct appeals. First of all, it presents a fairly simple set of dangers and thrills. A physical, highly visual predicament threatens the group, which must respond in difficult and dangerous ways in order to survive. Second, disaster movies can be read as metaphors of the general malaise of American (or Western) society. The nature of the threat, the makeup of the social microcosm, and the specifics of the response all present an ideological view of the troubled America of the years 1970-1975.

Jack P Pierce b Janus Piccoulas Greece May d July

Pierce (also known as Jack Pearce or Jack Piccolo) invented the iconic images of Frankenstein, Dracula, the Werewolf, the Mummy, and the Invisible Man during his twenty-one years at Universal Studios. Pierce emigrated to the United States, hoping to be a baseball player, but instead he found itinerant jobs as a nickelodeon manager, cameraman, actor, and stuntman. He entered the world of film makeup in 1910, working for various independent companies until the early 1920s, when he went to Vitagraph and then Fox. In 1926 he came to Universal and in 1928 became its head of makeup when Carl Laemmle Jr. took over the studio. Pierce's first notable design was the silhouette for Bela Lugosi's Dracula in Tod Browning's Dracula (1931). Pierce's genius flourished on James Whale's 1931 version of Frankenstein, with Boris Karloff in the lead. For Karloff he made, arguably, the most famous face in cinema. Departing from previous monkeylike Frankenstein depictions (as in Thomas Edison's 1910...

The Color Effect And Color Film

Although the history of cinema has been inscribed by numerous exceptionally talented cinematographers (working with brilliant designers, costume designers, makeup artists, and lighting technicians all of whom necessarily collaborate in the production of screen color), nevertheless the decision to use a color stock for the purpose of shooting a motion picture does not guarantee that the color onscreen will play a significant role in the film. A color film can fail to function in, even if it is shot in, color. Color film stock guarantees that there will be color onscreen, technically speaking, but nothing more. When we come away from the film and think back on it, very often we remember no object or scene or point of concentration in which color is the determining variable. In Blood Simple (Joel and Ethan Coen, 1984), for example, there is one moment when a large amount of viscous and extremely dark red almost plum red blood oozes across a floor. That is a true color moment in a color...

The Partial Success of Early Eisensteins Emotional Appeal

Of course it is impossible to say that a portion of a text is utterly without emotional appeal, given the range of individual variation in viewer's emotional makeup. One may respond to a work based on highly idiosyncratic, personal associations made with a text (e.g., because the film was shot in one's childhood neighborhood). But it is possible to say that the narration's appeal is more or less well structured to appeal to an audience that has the appropriate cinematic knowledge of genre schemas, narrative norms, and so forth.

The Migrations of Glamour

Such an interpretation also offers a more active role for women as spectators beyond the constructed female role outlined by Laura Mulvey (1975). If glamorous actresses like Marlene Dietrich are playing out a masquerade and are in control of the situation, then a more powerful and self-aware role is possible for women on and off the screen. Hence glamour is a rich and subtle area for exploration, one that offers various roles and possibilities for men and women as spectators and actors. An advertisement in Picturegoer for the magazine Woman's Fair The Journal of Beauty, which appeared on 16 April 1938, is informative at this point. The question is posed 'What is this thing called glamour ' and the answer provided is 'What makes some women so sparkling and alluring that they rival, in everyday life, the much-admired glamour girls of stage and screen It isn't a matter of money. But it certainly is a matter of knowing how in all that concerns make-up and dress. Knowing one's type and...

Crew Size And Onscreen Credits

Although the occupational categories described above have remained relatively stable since the advent of synchronized sound in the late 1920s, a cursory comparison of twenty-first century films, based on onscreen credits, compared to those of the late 1920s or even the early 1970s would suggest that crews are not only becoming larger but also more diversified. One recent example will suffice to illustrate this trend The Matrix Revolutions (2003) credits over 700 participants. This observation, however, may not accurately reflect reality. Screen credits may provide a guide to the main participants in creating a film, but they are not necessarily a reliable guide to the exact makeup of film crews. In particular, they are a poor index of the way in which crews have changed over time. A lengthening credit list does not necessarily mean that films now employ larger crews than before, but rather that a higher proportion of workers are named, whereas in earlier years many remained anonymous....

What does a director do on a given film

The response to that question varies as much as the process of film production itself. In general, a director would be closely involved with the three major phases of completing a film preproduction, production, and postproduction. In the preproduction phase, the director could be active in working on the final script choosing the actors and primary technical personnel rehearsing the actors sharing ideas with the production designer, costume personnel, and makeup artists and even finalizing decisions about loca

B Leonidas Chaney Colorado Springs Colorado April d August

After his beginnings as a comedian and dancer in the theater, Chaney went to Hollywood in 1912. He appeared in a steady stream of films from 1914 on, playing villains in formula Westerns as well as a variety of other strange characters, from a French Canadian in Nomads of the North (1920) to Fagin in Oliver Twist (1922) to a one-eyed hoodlum in The Road to Mandalay (1926). Chaney was famous for his skill with makeup, and publicly emphasized the extremes that he would undergo to create his monstrous, distorted outsiders. In The Penalty (1920), he plays a criminal kingpin whose legs had been mistakenly amputated, requiring him to wear a painful leg harness so that he could walk on his knees as if they were stumps in The Unknown (1927) he played Alonzo the Armless, a circus knife-thrower, with his arms strapped tightly to his body. As Quasimodo in The Hunchback of Notre Dame (1923), he wore a hunch in a harness that had a combined weight of seventy pounds.

Counter Cultural Agendas

The 'cynical' part of the argument would be its implications for the idealism of the period, the aesthetics of the films, and the politics of their makers. For if there is one theme that informs most of the essays, it is the value placed on the socially critical impact of the films, as well as the counter-cultural engagement of the directors and writers. This does not mean that the American auteurs had to belong to the left in the European sense of the term, or even liberal in the U.S. sense (though many were). They could flaunt their love for the wide open spaces of the American West and indulge in anti-modernist sentiments about cities, which Middle America might also have endorsed. But the landscapes and settings of New Hollywood show the ravages of an exploitative civilisation, at the same time as they still hold out the promise of an unspoilt nature, glimpsed, as it were, out of the corner of the eye. Above all, there is the notable bias for the underdog, the outsider, the...

To View This Figure Please Refer To The Printed Edition

Glass and is strewn with various glass bottles containing cosmetics, perfumes and oils. The lush decoration of the dressing-table is further enhanced by the four pairs of white plumes that crown each corner of the mirrors. The thick, luxurious floor covering and the all-pervasive drapes also contribute to the atmosphere of almost claustrophobic

Multiple Views of the Past

Antislavery but moderate Whig, according to historian William E. Baringer (a contemporary of Trotti, Ford, and Zanuck), it was Lincoln's status as a political dark horse that enabled him to be nominated.55 By leaving Lincoln's political makeup somewhat ambiguous, the filmmakers were able to suggest Lincoln's future political power without turning him into the mythic composite hero.

Working With The Crew

It is a good idea in the training of a director that they become conversant with the different craft disciplines. It is not necessary that the director become proficient in these disciplines, although that certainly does not hurt. It is more important that the director have a clear visualization of what she wants and the ability to convey that to others. Much of what the director wants from the various craft disciplines will be conveyed by the AD. And the same clarity that is essential in directing actors is needed in directing a crew. The director must state clearly the dramatic or atmospheric function of the color of a room, of the props, costumes, hairstyles, and makeup. Then it is important for the director to let the craft people do their jobs, and to count on them doing those jobs well. But as stated earlier, the director must assume responsibility for the final decision. Everything that goes into making a film should pass through the prism of the director's vision.

The Assistant Director

During production, the key role of the AD is to ensure the smooth running of the set to ensure that all personnel are informed of the schedule and given call times, and if need be to organize transportation for both cast and crew. The AD coordinates with all of the various departments (camera, grip, electric, sound, wardrobe, hair makeup, props, and cast) to ensure that everyone is aware of the schedule. Equally important is to inform all departments if there is a change in the schedule.

Directing During Rehearsals

Acting is a process, but a process that works differently and at different speeds for different actors. Some actors work from the outside (the dialogue, relationships, costume, makeup, and so on) to the inside (so-called technical actors), whereas others start on the inside (use of selves) and work toward the outside (so-called method actors). The technical actor may give results sooner, but the character may lag behind. For method actors, the opposite would be more likely. It is important to give each actor the time they need within the constraints of the rehearsal period

The Costume Department

You probably met the costume designer while you were being outfitted for the character. This person, like the key makeup artist, is responsible for all of the clothing that the actors wear in the film. Most of his work is done off set, designing. For some reason, wardrobe always seems to be a much more somber affair in comparison to the makeup trailer. Perhaps it's because it's where people get naked and dressed, and it requires a setting of decorum. 63, and 64, take place at a later time. You will have a makeup and costume change for those scenes. In fact, many of the lead actors will have changes. When scene 48 has completed filming, you will be sent back to the makeup and wardrobe trailers to get camera-ready for scenes 62, 63, and

The Actor And The Crew

During your time in the makeup or wardrobe trailers, you may encounter agitated young people with walkie-talkies and hurried looks on their faces. They will come into the trailer and bark into the walkie-talkie, bark at those at work, and probably bark at you, too. These are the production assistants, or PAs, as they are commonly called, a group of people who perform a variety of tasks on the production. The ones the actors come in contact with are the messenger escorts. They deliver information to whomever needs it The director wants you on set as soon as you're ready, The costume designer is coming and wants the actor playing Jojo to report to wardrobe first thing for a fitting, We need the actors on the set ASAP, etc. They also escort the actors from one place to another. They rarely introduce or identify themselves to you. Their demeanor can be upsetting to the organized calm of the makeup and wardrobe process.

Do you think you have different experiences as a woman filmmaker that a man doesnt have

A black singer, so we wanted to talk to him about this. We got to the point in the interview where I felt that we could do that, and he just opened up and what tumbled out was wonderful, and I was so thrilled with this interview. And when we got the footage back and looked at it, I couldn't believe what I saw. The cameraman was a white guy as Frederick was talking about what it's like to be a black man in a white world, the camera started pulling back and it just got farther and farther away until you couldn't even see the microphone. He was running away. The cameraman was running away. I cried when I saw that because he ruined the interview. I mean, you want to come closer. You don't want to run away from them, and I learned so much from that, and we did end up using it, but we used it as voice-over. You see him being made up, and it's a real close-up on his face, and the makeup being put on, and you hear his voice. So it turned out okay, but what an illumination for me it was to...

The Film Industry And Audiences

In the 1960s a series of studio flops and vast overproduction drove the industry into a deep recession. Because of the breakdown of the classical studio system, Hollywood grew increasingly out of touch with the changing nature of its audience. As the threat of deregulation and the growing popularity of television grew even more powerful, the new teenage audience was not enough to sustain the film industry in the 1960s. The success of Easy Rider in 1969 was dramatic evidence of the changing makeup of the film audience, which was now younger and at the same time more sophisticated, showing interest in films that more accurately reflected their own lives. A survey sponsored by the Motion Picture Association of America (MPAA) in 1968 revealed that 48 percent of the audience for that year were between sixteen and twenty-four years old. As a result of the popularity of youth-oriented and more experimental films in the late 1960s, such as Easy Rider, Bonnie and Clyde (1967), and The Graduate...

Resistance To Hollywood

Of the three countries, Germany's film industry was the most developed and the most prolific. In the 1920s it produced over two thousand feature films, and in 1923 German domination of its own market peaked for the decade, with domestic films accounting for 60 percent of the motion pictures screened in the country's cinemas. Although the nation's intelligentsia had resisted involvement with motion pictures until just prior to the war, the postwar sentiment within the country encouraged greater cross-fertilization among forms, and artists trained in Expressionism embraced film as a means to extend the visual experimentation of that art movement. The jagged shapes, crude lines, and forced perspective of Expressionist art was transposed onto the sets of the first German Expressionist film, Das Kabinett des Doktor Caligari (The Cabinet of Dr. Caligari, 1920). The Expressionist approach also extended to the makeup and performances of Caligaris lead actors, reinforcing the film's sense of...

Lars Von Triers Kingdom

When all cosmetics and effects are banished, story and character are left. This method allows for the actors to develop their characters. The first Dogma 95 films Vinterberg's Festen (The Celebration) and Trier's The Idiots came out in 1998, followed by Kragh-Jacobsen's Mifunes sidste sang (Mifune's Last Song, 1999) and Scherfig's Italiensk for begyndere (Italian for Beginners, 2000). The first Dogma films received prizes and much international attention, especially The Celebration, an incest drama, and Idioterne (The Idiots 1998), about a group of young people who pretend to be retarded in order to ''reach their inner idiot.'' The Dogma films have continued to add new energy to Danish cinema, although twenty or so foreign Dogma films generally have been less interesting.

The Director And Team

The script supervisor, or continuity girl, keeps track of the progress of filming and any deviations from the written script. He or she also helps the director remember the details of shots that have already been made, ensuring that details such as hair and makeup remain the same from one shot or scene to the next. In order to do this, a detailed continuity report is maintained.

Other Production Crew

Most films require some special effects. This term normally refers to illusions created on the film set, rather than in postproduction. (Digital effects and other effects created off-set are discussed in depth below.) The department is headed by the special effects supervisor, and its members may include such crew as a pyrotechnician, who is an expert in creating fires and explosions, a model maker, a puppeteer, and a projectionist, who operates the equipment needed for back projection. The special effects crew normally works closely with other departments, such as makeup or stunts, so there may be no clear division between them.

Auditioning and Performing Are Two Different Things

When you book the job you will have a scene partner, with whom you will have rehearsal time to collaborate on choices. You will also be doing it with a director, on a set, with lights and cameras and hair and makeup people. That is when a performance is required and when those advanced choices can be fulfilled. Let's get the job before we perform the job.

Boxing Films And Class

A second cycle of boxing films includes seven movies released between 1947 and 1956. Three of these, Body and Soul (1947), The Set-Up (1949), and The Champion (1949), use a combination of noir and neorealist styles to criticize the exploitation of working-class fighters. In reaction to the political repression of the McCarthy-era blacklists and the increasingly nonwhite makeup of prizefighting, films from the 1950s such as The Ring (1952), The Joe Louis Story (1953), The Harder They Fall (1956), and Somebody Up There Likes Me (1956) shifted their focus to liberal models of assimilation as the best response to class and racial disadvantage.

Emergence Of The Genre

Another version of Joan's life, contrasting sharply with the DeMille biopic, appeared a decade later. The Passion of Joan of Arc (1928), directed by Carl Theodor Dreyer (1889-1968), signaled another direction for the biopic. This radical cinematic experiment eschewed the epic dimensions of DeMille's Hollywood melodrama, restricting the action to twenty-four hours in the life of the saint and minimizing the use of costumes, objects, and makeup. Dreyer's film focuses on Joan's trial and execution in numerous close-ups, creating a counterexample to expansive and spectacular forms of the biopic. A year earlier, Napol on vu par Abel Gance (Abel Gance's Napoleon, 1927) presented yet another biopic and experimental treatment of epic, using every possible cinematic device including montage, tinting, split screen, superimpositions, dissolves, matte shots, and dramatic camera angles. The film followed the career of Napol on Bonaparte from schoolboy to soldier, lover, revolutionary, and empire...

Questions About Acting Narrative And Audiovisual Design

Do extensive script analysis and character study. In the cinema, actors' performances are also part of a film's overall formal design. Audience impressions are shaped by the dominant patterns and specific features of a film's sound, lighting, set, costume, makeup, color, photographic, editing, framing, and performance design. Competent directors develop a clear and imaginative design that serves as the blueprint for selections made by all members of the production. Skilled actors create performances that contribute to the style embodied by a film's other cinematic elements by adjusting their voices, gestures, postures, and actions to conform with the director's stylistic vision.

Ultraviolet Photography

The second technique is known as fluorescence, or black-light, photography. In motion-picture photography, it is used principally for its visual effects. Certain objects, when subjected to invisible ultraviolet light, will give off visible radiation called fluorescence, which can be photographed with conventional film. Some objects fluoresce particularly well and are described as being fluorescent. They can be obtained in various forms such as inks, paints, crayons, papers, cloth, and some rocks. Some plastic items, bright-colored articles of clothing, and cosmetics are also typical objects that may fluoresce. For objects that don't fluoresce, fluorescent paints (oil or water base), chalks or crayons can be added. These materials are sold by art supply stores, craft shops, department stores, and hardware stores. Many of these items can also be obtained from Wildfire, Inc., 10853 Venice


Makeup helps express narrative elements, and a makeup artist decides how best to convey this information. A historical period's cosmetic oddities, or its lack of them, have to be plausibly recreated for a modern audience. The presentation can be faux-historical, as in Satyricon (Fellini Satyricon, 1969), which though set in ancient Rome, was conceived, on the director Federico Fellini's insistence, as dreamlike by the consummate costume designer, Piero Tosi (who did not create costumes for the film, only the makeup). Lois Burwell's and Peter Frampton's makeup for Braveheart (1995), set in about thirteenth-century Scotland, was accurate though it looked fantastical. Fantasy makeup, such as Beno t Lestang's for La Cit des enfants perdus (City of Lost Children, 1995) or John Caglione Jr.'s for Dick Tracy (1990), sets the mood for the film. Oppositely, Toni G's makeup for Charlize Theron as a hardened prostitute in Monster (2003) was a feat of realist metamorphosis that made her look like...


Makeup has a long theatrical history. The early film industry naturally looked to traditional stage techniques, but these proved inadequate almost immediately. One of makeup's first problems was with celluloid. Early filmmakers used orthochromatic film stock, which had a limited color-range sensitivity. It reacted to red pigmentation, darkening white skin and nullifying solid reds. To counter the effect, Caucasian actors wore heavy pink greasepaint (Stein's 2) as well as black eyeliner and dark red lipstick (which, if applied too lightly, appeared white on screen), but these masklike cosmetics smeared as actors sweated under the intense lights. Furthermore, until the mid-teens, actors applied their own makeup and their image was rarely uniform from scene to scene. As the close-up became more common, makeup focused on the face, which had to be understood from a hugely magnified perspective, making refinements essential. In the pursuit of these radical changes, two names stand out as...

Looking the Part

S there anyone who hasn't played dress up with a friend at some point in their lives Put on fancy clothes, extravagant makeup, and done each other's hair to match the shoes The people in this chapter do it for a living. It is precisely because of this type of character identification that the director, and often the actor, works very closely with the costume and makeup designers and fabricators. They all work

Face Caster

The job of a face caster is to create the plaster mold on which the makeup will be sculpted. This mold is a lifelike replica of the actor's face and is used in the same way the skeleton is used in creature work. A face caster prepares the actor for the casting process and verbally guides him or her through it. One note of caution please don't try this at home. From this point, makeup effects follow the same pattern as creature effects, until the makeup is delivered. Then there is one additional job.


Producer Chiu Shun-Ching, Hsu Li-Kong, Chung Hu-pin (executive), Wang Shih-Fang (associate) screenplay Tsai Ming-liang, Tsai Yi-chun, Yang Pi-ying cinematographer Liao Pen-jung editor Chen Sheng-Chang, Lei Chen-Ching production designer Tony Lan art direction Lee Pao-Lin set decoration Cheng Nien-Chiu, Kuo Mu-Shan costume design Yu Wang makeup Yen Pei-Wen.


Producer Carl Laemmle Jr. screenplay Garrett Fort, Francis Faragoh, and John L. Balderston, uncredited first draft by Robert Florey, from John Balderston's adaptation of Mary Shelley's novel adapted from the play by Peggy Webling photography Arthur Edeson editor Clarence Kolster sound recording supervisor C. Roy Hunter art director Charles Hall music David Broekman makeup Jack Pierce laboratory equipment Ken Strickfadden.

Rio Bravo

Producer Howard Hawks screenplay Jules Furthman and Leigh Brackett, from a novelette by B. H. McCampbell photography Russell Harlan editor Folmar Blangsted sound Robert B. Lee art director Leo K. Kuter music director Dimitri Tiomkin songs Dimitri Tiomkin and Francis Webster costume designer Marjorie Best makeup Gordan Bau.


Producer Carl Laemmle Jr. screenplay Garrett Fort, dialogue by Dudley Murphy, from Hamilton Deane's and John L. Balderston's stage adaptation of the novel by Bram Stoker photography Karl Freund editor Milton Carruth editing supervisor Maurice Pivar sound C. Roy Hunter production designer Charles Hall music director David Broekman makeup Jack P. Pierce.

Vampire in Brooklyn

Eddie Murphy is a very, very complex guy. He used to call me at 3 00 in the morning, because he knew that I was a night owl, and he is, too. And one of the interesting things to realize about a star of that magnitude is that their area of privacy is very constricted. That's the first time I really felt that to that extreme. When he would get into the makeup of some of those secondary characters he played, then he seemed most relaxed. He would sometimes even go off the lot in makeup because he could move through culture, through society, unrecognized and could just be himself.

Black Sunday

Producers Robert Evans, Alan Levine (associate), Robert L. Rosen (executive) music John Williams cinematograper John A. Alonzo editor Tom Rolfe casting Lynn Stalmaster sound Howard Beals, Gene S. Cantamessa, John Wilkinson special effects Logan Frazee, Gene Warren, Jr. stunts Everett Creach, Howard Curtis art direction Walter H. Tyler set decoration Jerry Wunderlich costume design Ray Summers makeup Sugar Blymer, Bob Dawn, Brad Wilder production manager Jerry Ziesmer.


There's an old story about the original Star Trek television series that illustrates the job of the colorist. It seems in an early episode, there was an alien woman who had green skin. The makeup department did a wonderful job making her look as if green were her actual skin tone. The scene was shot and sent off to the lab. When the print came back for dailies, the green woman had miraculously become white. Thinking there was something wrong with the way they had shot the scene, the crew went back in and reshot the green woman. Again the film came back from the lab with a white woman. This time the film crew went to the lab to find out what was happening. The technicians at the lab had seen the film come in, seen the green woman, and assumed their equipment had made a mistake. They color-corrected for the green and sent back a woman the right color for a Caucasian human but the wrong color for an alien. Eventually it all got worked out, and the episode became one of the classics from...

My Personal Demons

It happened on The Substitute, a film Roc and I wrote, down in Florida. It nearly happened to Wes Craven on The Swamp Thing. The acidic waters of the swamps were eating the latex makeup off the stuntman playing the eponymous creature, so that every time he'd surface, the body suit would be dripping off him in pieces. The production began to fall behind schedule. One morning, Wes came out on the location, and there was someone he hadn't seen before lurking around the set, looking official. For a while, Wes tried to ignore the apparition, but finally he inquired who the man was, and was told it was a representative from the completion-bond company, waiting for Wes to fall any further behind schedule. Pretty creepy. Fortunately, Wes didn't lose any more time. But those are things I personally wouldn't be able to sanction. It's not just that I'm a control freak which I am but on independent films it's all about the director's vision. I don't like the notion of spending...

An Agents Life

There are agents who handle actors and some who, more specifically, represent actors for certain types of work, such as television and cable, feature films, commercials or voice-overs. There are agents who just represent writers, and they're called literary agents. There are agents who represent musical talent, those who handle producers and directors and those who represent below-the-line crew such as cinematographers, editors, production sound mixers, costume designers, makeup artists, etc. And then there are agents who specialize in packaging. In fact, the larger agencies (such as William Morris, CAA and ICM) have entire packaging departments that can draw from pools of highly talented clients. Whether it's developing a film or TV concept in-house or getting behind a client's screenplay, they have the ability to package an agency-represented writer with other agency clients, such as a producer, director and cast. A project that's packaged with two or more of these elements is a...

The Films

Although the plot seems muddled, there are moments of glamour and glitz in this film. Harlow's satin sheets and luxurious makeup fill the screen, making all of us nostalgic for an earlier, more innocent time in Hollywood history. The theme of having a man rescue the star from further unfortunate publicity is repeated as it was in Hollywood Speaks.

The Rushes

The director and DP must watch the rushes, or dailies (both terms are used interchangeably), to make sure that what they thought they were capturing during shooting is actually arriving onto the screen. Each department head will be present, each only looking at the work for which his department is responsible. The set decorator looks at the set, the makeup artist at the makeup, the gaffer watches the lights, along with the DP and director, who are watching everything. All of the takes that were requested to be printed of each shot, identified by their slate, will be viewed in succession and scrutinized. Choices will be made and unmade and then made again the editor will take notes. It is an atmosphere of intense concentration, as everyone goes back over what has been shot and decides what has worked, what to reshoot, and how to proceed.

Visual Design

The hairstylist is responsible for designing and maintaining hair and wigs. Makeup artists design and create the facial and body makeup effects required for the performers (sometimes animal as well as human). The special makeup effects credit belongs to artists who create major alterations in appearance. These may include the simulation of serious injuries or disfigurements, or the transformation of an actor into a monster. Prosthetic makeup is a specialized task that generates radical transformations by attaching latex or other materials to an actor's skin, using prosthetic appliances created by a foam technician.

Black White Films

For pictorial purposes, the greatest use of infrared sensitive film for motion-picture photography has been for day-for-night effects. Foliage and grass reflect infrared and record as white on B & W film. Painted materials which visually match in color but do not have a high infrared reflectance will appear dark. Skies are rendered almost black, clouds and snow are white, shadows are dark, but often show considerable detail. Faces require special makeup and clothing can only be judged by testing.

The Fourth Wall

Creating an inner place of such emotional power is a different usage of place than the creation of a communal fourth wall, as all of the actors did in the first scene I mentioned at the beginning of this chapter. Those actors all created the illusion of seeing the same scene before them that we were seeing on the picture screen. The fourth wall is the missing wall of the traditional proscenium arch of the theater, through which the audience views the play. Though there have been amazing technological advances since the days of actors standing on gas lit stages in heavy makeup, projecting their voices, and using large gestures to indicate what is going on, one thing for the most part has not changed we are still looking at the actors through a frame. Although there have been theater productions that have been site-specific or in the round in the attempt to break away from the proscenium arch, for the most part, we are still inside the box. We are still looking into a frame, and the...

Stolen Location

I visited the location of The Taking of Pelham One Two Three back in '73, while Robert Shaw was filming his character's death by suicide on the third rail. An entire subway station had been commandeered by the film company. A subway car sat idly at their disposal. Shaw had completed a second take just before I was shown into his improvised dressing room. He looked up at me and, it being the first time we'd met, I was startled by how old he looked. Attempting to be tactful, I remarked that he was looking tired. He scowled at me, and the makeup artist urged him to get the makeup off before it began to stain his face. I didn't realize they had put some sort of chemically unstable appliance on him that appeared to shrivel as the current coursed through his body. The first take, he explained, had been pure acting without the aid of the makeup. He had persuaded them to let him try it once that way, likening it to Barrymore's purely histrionic transformation in the silent Dr. Jekyll and Mr....

Hearts of Darkness

Unlike Nunn's Twelfth Night and Branagh's Love's Labour's Lost, Stage Beauty does not attempt to export Shakespeare by recolonising post-colonial American Shakespeare rather, the film offers, through its citation of Burge's Othello, a genealogy of the failure of this post-postcolonial strategy (neither Twelfth Night nor Love's Labour's Lost did well at the box office, and neither did Stage Beauty) and points up the limitations of commercially successful post-colonial, transnational Shakespeare cinema as exemplified by Shakespeare in Love, a Shakespeare that can be romanticised precisely because the Bard is already fixed, no longer open to adaptation (here Stage Beauty abandons historical accuracy altogether) even in the Restoration. Against Madden's rather cheerful account of Shakespeare's maturation from impotent hack into potent genius, Eyre places a degraded English Shakespeare, signified via the reduction of Othello to key passages, the deployment of a central and cinematically...

Putting On The Style

A revolution in beauty and cosmetics took place in the 1930s, thanks again to Hollywood. Make-up became socially acceptable and widely available for the first time. It was associated with being glamorous, as an editorial piece in Home Chat (1939) demonstrates. 'That Touch of Glamour' advised readers on the application of make-up, including rouge, eye-shadow and lip pencil. Max Factor of Hollywood was the leading brand of beauty products in Britain, and was marketed there from 1930 onwards, with the London Salon opening in February 1937. Elizabeth Arden, although she had never produced make-up for use during actual filming, did advise women in 1934 to 'Hitch Your Beauty to a Star' in Film Fashionland 'It's fun to have a new face, to be exotic in one's new trained evening gown, out of door in tweeds, and demure in a little dress. . . . Round faces can be made to look oval, thin one plumper. These are clever little tricks that are not reserved for stage and screen folk, but you and I can...

Getting The Shot

Amidst the controlled chaos brought on by up to seven different crews (camera, lighting, grip, sound, wardrobe, makeup, and special effects), all trying to do their thing, the AD is yelling things like, Is camera ready Is costume ready Is the rain ready Finally, as the moment nears, things begin to calm down a little bit. Grips, electricians, wardrobe, and makeup people all stand aside while camera and sound people move in. The actors, fresh from makeup and running lines in the trailer, thread their way through a forest of C-stands looking for their mark. Rehearsal is up, calls the AD, sometimes followed by, Settle, please a request for quiet. When things have mostly calmed down, the actors will run another rehearsal. If there are camera moves

The Callback

Can the actor's physical and vocal traits fulfill your vision of the character Be careful here. Remember that makeup, wigs, and prosthetics can do miracles so don't reject a marvelous actor without careful consideration even though he she doesn't quite fill the bill physically.

Shooting The Master

Will ask you to hit certain marks while the light and distance is measured. There will be light meters and tape measures coming toward your face and body. The makeup assistant will be looking carefully at every corner and crevice of your face, wardrobe will be adjusting your dress, and the hairstylist will be arranging and touching your hair. You should be concentrated on the instructions of the camera crew, who are making sure that what they have planned to do will actually work now that you are in the frame. Be aware of the lights and how they hit your face and how the specific movements that you have been given will affect the character's behavior. Remember that if you move outside of the camera frame, you will not be photographed it doesn't matter how great you act if no one can see it.

Approaching The Text

Many times, there are no rehearsals at all, except for a brief run-through of the text on the set right before you shoot the scene. Often, you haven't met your fellow actors until you are in Makeup oi and Wardrobe on the day of the shoot many times you meet them on the set right before you are ready to shoot the scene. Sometimes you don't even meet the director until you are ready to shoot. The script may have J changed many times since you last saw it, and it might change again before


Someone who does continuity is also known as a script supervisor. A script supervisor is a one-person department who works on a set at the epicenter of all that's going on. This person's primary job is to match movement, dialogue, props and often wardrobe, hair and makeup from one take to the next and one scene to the next, even though two consecutive scenes may be shot weeks apart from one

Early History

A specific period or movement of German silent cinema in the 1920s, German expressionism eschewed realism in favor of projecting onto the exterior world abstract representations of intense inner emotion, whether of characters in the narrative or of the artists themselves. Characteristic techniques of German expressionist cinema include an emphasis on extreme angles, chiaroscuro lighting, distorting lenses or sets, and stylized acting and makeup. The films were shot mostly in the studio, many at Universum Film Aktiengesellschaft (Ufa, the largest studio in the country), with an artificial look that deliberately sought to exclude the natural world. Thus German expressionism was a style ideally suited to the horror film, and many of the films dealt with the popular horror themes of psychological breakdown and madness and the supernatural, including Der Golem, wie er in die Welt kam (The Golem How He Came into the World, 1920) Der Mtide Tod (The Weary Death, also known as Between Two...


Producer Christopher Figg, Andrew Macdonald screenplay John Hodge from the novel by Irvine Welsh cinematographer Brian Tufano editor Masahiro Hirakubo casting Andy Pryor, Gail Stevens production design Kave Quinn art direction Tracey Gallacher costume design Rachael Fleming makeup Robert McCann special effects Grant Mason, Tony Steers.

The Wizard Of Oz

Producer Mervyn LeRoy screenplay Noel Langley, Florence Ryerson, and Edgar Allen Woolf, from the novel by L. Frank Baum uncredited director King Vidor photography Harold Rosson editor Blanche Sewell sound recording director Douglas Shearer production designer Edwin B. Willis art director Cedric Gibbons music Harold Arlen lyrics E. Y. Harburg special effects Arnold Gillespie costume designer Adrian assistant to Mervyn LeRoy Arthur Freed makeup Jack Dawn.

Shakespeare In Love

Producer Marc Norman, David Parfitt, Harvey Weinstein, Edward Zwick, Donna Gigliotti, Bob Weinstein (executive), Julie Goldstein (executive), Linda Bruce (associate) screenplay Marc Norman, Tom Stoppard, with passages from the plays of William Shakespeare cinematographer Richard Greatrex editor David Gamble music Stephen Warbeck casting Michelle Guish production design Martin Childs art direction Steve Lawrence, Mark Raggett set decoration Jill Quertier costume design Humberto Cornejo, Sandy Powell makeup Veronica Brebner.

Queen Betty Schaefer

When Betty is first seen in the movie, a production executive Mr. Sheldricke (Fred Clark) calls her to join him in his office. Betty's caramel-blond hair is tied back in a bun, her white shirt with Peter Pan collar is buttoned up to her chin, long-sleeved sweater and calf-length skirt completes the ensemble, with a bow in hair and Max Factor-style makeup. She is a picture-perfect example of a mid-twentieth-century working girl. She is asked for a copy of her coverage and her opinion of a story she has just read. She responds quickly, confidently It's a rehash of something that wasn't very good to begin with. I found it flat and trite. Mr. Sheldricke then introduces her to Joe, the author of the flat and trite story. She is taken aback, makes a gesture to be polite, but defends her thoughts by stating I just think a picture should say a little something. The three discuss how writers could take Plot No. 27A and make it glossy, make it slick, until Joe states he needs to write to make a...

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