CELEBRITIES BEHAVING BADLY

So, this past week actor Alec Baldwin was in the headlines again for “behaving badly” on an airplane, and in general making an ass of himself. Actors and celebrities are just as likely to act like idiots as any other group of people, but regular folk don’t make it into the headlines. It really bothered me that Alec felt so entitled to be exempt from both courtesy and FAA rules.

I have worked with a LOT of celebrities (if you doubt me, check out my celebrity page on my website at http://hollywoodmentors.co/HM/celebrities.html,) and I have come to the conclusion that if someone is by nature and upbringing kind, considerate, appreciative, and well balanced, they will remain so if they become famous. If they are basically shallow, insecure, self involved, with a strong sense of entitlement, these traits will only be exacerbated with the addition of fame.

Stars do not have the right to think the rules do not apply to them, that common manners are not necessary, that respecting one’s assistants, co-workers, and colleagues is of no importance. What they DO have the right to, in my humble opinion, is enough “space” to prepare for a big performance. When I worked with Diana Ross, she needed a quiet dressing room for at least an hour before going out and singing for 30,000 people, and it was not a time to engage her in petty conversation. She had her diva moments, but she was respectful and generous to her cast and crew. The one time she snapped at me about some minor thing, she later apologized.

Stars also deserve to be left alone in restaurants while enjoying a night out. I was out with Larry Hagman (in a group!) when filming “Staying Afloat”, and he could barely finish his dinner without fans coming up and expecting him to lay down his knife and fork and have their photo taken with him. He also told me that he used to wear a huge baseball cap when flying as people would sneak up and take photos of him sleeping!

Some of the really wonderful actors I have worked with are:

Ann-Margret; if you work in her company, you are “family” for life. The dancers and singers that traveled with her when she had her nightclub act were definitely her family and she would do ANYTHING for them . After she heard that I was in the MGM fire with other members of the Bob Mackie group, she called all over town to trying to find me and see what she could do to help and if I was OK.

Betty White: she NEVER expects any special treatment, NO concessions to her age or celebrity. 

Tony Danza: on the first day of filming he would go around the set with his assistant memorizing his crew’s names. He would point to a gaffer or grip or prop master, and his assistant would whisper their name in his ear. He does have a hot temper, but also has an Italian heart of gold. 

The late Gregory Hines would not only greet every cast and crew member, but would go up and say hello to the stand-ins and background actors, often treated like “outsiders” and considered invisible until needed.

George Clooney was an unknown when I worked with him back in the 1980’s, but I cannot imagine in my wildest dreams him putting on airs.

Tom Hanks, who directed an episode of the TV series “A League of Their Own” that I costumed, said that sometimes the yes-men unwittingly encourage the bad behavior. They try and satisfy every demand, not wanting to be the first to say no, and so the scope of the requests gets more and more extreme, until you tempted, Hanks said, to ask for the impossible and unreasonable, just to see at what point someone would say no.

Its always a tough place to be, especially for a young designer or film-maker, to know at what point one can draw the line and not go along with unreasonable requests. The producers just want their stars to be happy and don’t want any of the crew standing up to an unruly actor and making waves. So there are times when you have to suck it up and go along, but there are also times an experienced designer will know that a star is testing you, pushing you, and sometimes it seems they relish being told, sorry, I can’t do that.

One star I worked with recently wanted a particular kind of socks. I searched and searched and bought every possibly variation of what he was looking for. None of them were right. On the first day of shooting I presented him with 6 different pairs of socks. He said these aren’t the ones. So I said, I’m sorry, but these are the choices, pick one. And he was fine with it!

I love working with actors - their needs, their peculiarities, their insecurities, their creative instincts. So as long as they respect me as their equal in all things except perhaps income and notoriety,  I’m in. 

UGLY CHRISTMAS SWEATERS AND FOUR PAIR OF GREEN SNEAKERS

Hello everyone. Holiday time is a busy time and I haven’t been thinking much about costumes.......except 

I was invited to a holiday party the other day where there will be an “Ugly Christmas Sweater” competition, and that reminded me once again about darling Betty White (whom I did blog about recently, but there are no end of funny stories about working with her). We were filming a Christmas movie called “Stealing Christmas” with Tony Danza, Lea Thompson, and Betty, but, as is often the case with Christmas movies, it was being shot in spring for the following year. Betty was playing the owner of a store that sold model trains, but was all decorated for Christmas, so I wanted to dress her in nothing but Christmas sweaters. But it was March, and there were no more in the stores! Nothing but spring merchandise!

Thank goodness for the internet - what did we do before it! I was able to find three great sweaters, covered with all sorts of sequinned trees, snowmen, reindeer, and gifts, from various sources, including Ebay. She looked quite adorable in the sweaters and it perfectly matched her character, the decor of her little store, and her personality!

Often costume designers have to find things that are out of season. In retail stores, try finding slippers except at Christmas - why should that be the only time to buy slippers?  Even the thrift stores are now getting so sophistocated and well organized that they put away their summer clothes in winter, and vica versa in summer!

Shopping online is a relatively new thing for costume designers, and of course is not always possible when things are needed immediately. But it is quite amazing what you can find. I was costuming the wonderful BB King, and we needed a pair of green sneakers for him for his video “One Shoe Blues”. I needed at least 4 choices, as the shoe would be prominently featured, and he wears a size 12, so where on earth was I going to purchase those? Thank goodness for Zappos.com (I am not affiliated in any way) because, believe it or not, they had 4 different styles of GREEN sneakers in the right size! In the end we kept all 4 pairs.

Sometimes costume designing requires a treasure hunt, and it is quite fun. One time for “Passions” the script called for one character to give another character a “Partridge in a Pear Tree” pin, and I thought, where on earth am I going to find that? Again, thanks Ebay!

Have I been stumped? I’m sure I have. Anything can be made in Hollywood, given enough time and money. One jewelry designer said, you can only have 2 out of 3: fast, cheap, or well-made.  Fast, well-made, but not cheap. Cheap, fast, but not well made. Etc. 

But producers don’t want to hear us whine, so somehow, we find what we need!

TUTUS OR CAMOUFLAGE: ALL THINGS CAN BE COSTUMES

You wouldn’t think that a girl like me who loves silks, satins, sequins and rhinestones as much as I do would be able to find a connection between the military and costumes! 

But last weekend I went to the Nellis Air Force Base Air Show in Las Vegas, and was once again reminded about the many things I admire about the military, and the kind of training it offers. There is a discipline and team spirit that is wonderful to behold, and can be a valuable asset in film-making!

I have had in my past career two costumers work for me who were ex-military. One was Michael Russell, a tall handsome guy from Texas, who got into the business unexpectedly. Following his service in Somalia and Iraq, he was hired on a film as the military consultant. It is not unusual to hire consultants to help assure accuracy when doing a military film, or a medical film, or any time of film where the average film-maker will not know the inside things that make for realism. 

Michael was a fabulous costumer. I loved that he was always punctual, efficient, kept his opinions to himself, and understood the chain of command. My crew and I used to marvel when Michael would set up a fitting room for an actor coming in. All the hangers were not only facing the same direction, but were perfectly spaced exactly 1“ apart from each other! He even used to open the safety pins and line them up in a perfect formation!

Another ex-military woman called April Kreuger came in to interview with me for a costumer position on “Passions”. She came in organized for her interview with a list of questions to ask me about what I expected of her, and a notebook to right down the answers. She got the job. 

But back to costumes. The first military project I ever designed was a stage play called “Streamers” with an all-male all-star cast. I was at the very early stages of my career and feeling very female and very insecure. It was a tough job because no matter how much research I did to get everything right, the all male cast, many of them having served at some point, were very vocal in telling me when I didn’t get something right!

You can’t wing it. Besides the basics of the uniform itself, you have to consider the era, location, rank, division, patches, insignia, medals, what they all mean, and exactly how and where they are placed on the uniform. Then there’s the gear, tactical belts, helmets, vests, holsters, backpacks, goggles, etc.

I did a short film a year or so ago about helicopter pilots in Vietnam. I found, via the internet, a man who had been a actual helicopter pilot from that era, and we had several phone conversations. He sent me a number of photos of him and his buddies from that time. It was a fascinating experience talking to him, and great research.

So I guess not all costumes have to have sequins on them! They just need to tell the story, and tell it right.

ADORABLE FUNNY FABULOUS BETTY WHITE!

What you see is what you get with Betty White. She is every bit as funny, adorable, and (dare I say it) nice as she appears to be. A year or so ago, the entertainment news kept talking about the “come back” of Betty White, but if you look at her IMDB, you will see that she has NEVER stopped working, and working a lot at that.

I had the excellent fortune of working with her on a TV sitcom called “Ladies Man”, which ran for two years on CBS. How can you not love Betty? She was and is the most professional, competent, and delightful actress you could ever have the good fortune to work with. On “Ladies Man” we had two “young people”, Alexa Vega, age 11 at the time, and Kaley Cuoco, age 15 at the time. cast as family members. (Sharon Lawrence and Alfred Molina played the parents of the family in this sitcom.) It was wonderful to see how the younger actresses instinctively learned from a true pro - how to be on time, know their lines, be appreciative to the crew, and thoughtful to all those around them.

I learned quickly what Betty’s “look” was. Her color favorites were all the sherbet colors - blue, turquoise, aqua, green, sometimes pink, and very occasionally yellow. She liked turtleneck tops and long sleeves, and pants, not skirts. Because of the quick changes on “tape night” I always changed any jewelry clasp to a small magnetic clasp that didn’t require putting on glasses to fasten it.

But what impressed me about Betty was that she was game for anything and never complained if she were in an uncomfortable scene or costume. One time she was dressed as Joan of Arc in full metal armor, a very heavy costume, and yet, not a peep out of her. Another time she was in an angels wings, the harness of which was cutting into her skin. She never used her age (then 78) as an excuse for special treatment.

A few years later I was thrilled to find out that she had been cast in a TV movie I was designing in Vancouver, Canada. She arrived the day before filming, but I already had the advantage of knowing her sizes, preferences, and taste. 

One Friday night I was at the Vancouver airport taking a flight back to LA (where I was starting to design “Passions” on the weekends) and she went whizzing by on an escorted VIP cart. When I saw her again she was so embarrassed that she had a ride to the gate and I had to walk, dragging my suitcase. She apologized over and over, despite my protests. I asked her why she was flying back to LA for such a quick trip when she had lots of big scenes again on Monday and she said, “Oh Diana, I can’t  leave my dogs that long, I miss them too much.” Her love of animals is legendary, and her stamina, talent, and humility are also legendary.

WHAT A COSTUME DESIGNER CAN DO FOR YOUR FILM

Sometimes people think I am putting on airs when I insist on being called my proper title of costume designer. I do not want to be called The Wardrobe Person, any more than the DP wants to be called the lighting guy, or the Production Designer wants to be called the set boy. I don’t “do wardrobe”.

I know where it comes from and it is not a conscious slight. Film makers start out in student or low budget films, where actors bring in their own wardrobe, and whatever else is needed is begged, borrowed, or purchased from the thrift store by whoever is available. 

So why then would the person who does this at this level think he or she deserves the title of “costume designer”? Because at whatever level, an artist deserves to be called the correct title of his or her job. The director is still called the director, the DP is still called the DP, not matter how humble the project. So should it go for all the departments. Producer. Editor. Composer. Casting director. Costume designer.

There are some common misconceptions about what costume designers do, especially when it comes to contemporary films or TV shows. It is easy to picture hiring a costume designer if you are making a period film based on the life and times of Henry VIIIth, or even a sci-fi film with some weirdly dressed creature from the future. But for a contemporary film with just people wearing “normal clothes”?

Yes, you will benefit from hiring a costume designer. Because what a costume designer does is take care of one huge aspect of the final visual project. He or she, after conferring with the producer, director, and production designer, will co-ordinate the gathering of all clothing to be worn, whether borrowed from actors, rented, purchased, or sewn from scratch. That person will co-ordinate the color palette, so that no two actors wear the same colors in a scene, or something that clashes with the set decoration. He or she will make sure the clothing fits, is clean and ready to shoot, is there on the day of the shoot, and is multiplied in case of stunts. The director should not be worrying about the wardrobe when he is setting up his shots. The actor should be concentrating on his or her lines and not wondering if the suit he brought fits right, looks right. Even on a low budget film, having a costume designer on board to take care of everything can still be an advantage. Obviously on a big budget film, it is a full blown necessity. 

Some other misconceptions:  

“I don’t need a designer, its just shopping”. In that case, you don’t need a production designer or set designer. They do the same thing - take something that already exists, and through the addition of paint, furniture, set dressing, etc, which is also  “just shopped”, creates the look for the scene. It all takes the training and the artistic eye to do “the shopping” and then to assemble it to create an entirely new set or costume.

When is it wardrobe and when is it a costume? Again, people sometimes think it is pompous to call a contemporary outfit such as a pair of jeans and a t-shirt a costume. But that it is, especially if time and care has been taken to purchase and fit the exact right jeans and t-shirt, and to age them so that they look like they are suitable for the action - brand new? aged and old? comfortably worn? recently laundered? covered with mud or blood from a recent fight?   It is wardrobe when the various pieces are just items of clothing. It is a costume the moment they go on an actor, are fit, approved, aged, and turned over to the care of the costumer for the run of the shooting schedule. That’s a costume, and I am so happy to be a costume designer!

DOLPHINS IN THE GULF, LARRY HAGMAN IN FT LAUDERDALE

Last week I had the pleasure of spending a week with my sister in a part of Florida that I was totally unfamiliar with, the Gulf Coast, the part of it they call “The Emerald Shore”. I was enchanted with the incredibly white beaches, blue water and skies, and was feeling so relaxed I wondered how I could think about costumes for my weekly blog!

But then I remembered my 4 week stay in Fort Lauderdale, Florida, in 1992 while filming a TV movie called “Staying Afloat” with Larry Hagman. Other than the fact that it was August, when no one in their right mind goes to Florida (heat, humidity), I remember it fondly as a wonderful experience.

It was actually my very first film, and naturally I was nervous. As often happens, the first day of filming was not a simple one, but one of our biggest days with hundreds of extras. The location was the local racetrack, and we had spectators, horses, jockeys, trainers etc to deal with besides our stars Hagman, Claire Yarlett, Gregg Henry, and Dakin Matthews. But I had a good crew and all was going well until we were getting ready for our first shot with Larry. My assistant came running to me and said that Larry had just spilled coffee all over his trousers! YIkes! I didn’t have a double, so we had to clean off the pants as best we could and then dry them with a hair dryer, and get him back on set as quickly as possible. Actually, he was very embarassed and very apologetic.

Other days we shot on the beach in full sun, and it was all we could do not to strip off our clothes and run into the cool water! We went to Boca Raton for 2 days and shot there at the harbor, pool, and resort, and in a number of other locations around Fort Lauderdale. Since the series of movies NBC planned to film was based on around a renovated 1930’s yacht that once belonged to the Dupont family, Larry had wanted to film in different exotic locations, which was fine with me! (not that he asked).

I love going on location, especially if it is somewhere fairly civilized and for not too long a period. In Florida I was put up in a nice hotel on the 12th floor with a view of the beach and the inter-coastal waterway and could watch boats go by all day on my day off. My husband flew in from Los Angeles for a weekend in the middle of my stay, so we were not separated for too long. Location work is one of the things that has kept my life interesting, varied, and full of new places to discover. Though what I’m really waiting for is a film that shoots on the Amalfi Coast in Italy!

THE GLOBAL REACH OF SANTA BARBARA

Sometimes I wonder if my chosen profession really has any serious positive effect on the world. After all, I’m not feeding the poor, healing the sick, or working to change the world. I design costumes. I help tell stories. 

But every once in a while I am reminded of how much pleasure certain shows I have been part of bring to people in places outside of my limited world. “Santa Barbara” is one such show, a daytime soap opera that told the stories of beautiful people in the sunny California town. 

A few years ago I heard from a young Russian woman from Bellarus who wrote me about how valuable and popular the show was in her bleak communist country, when it first started opening up to the Western world. I can’t express it better than the author herself: 

More than just a popular TV show, “Santa Barbara” was a phenomenon in my homeland. Every night at seven o’clock the street were empty as the citizens of the former Soviet Republic huddled around their television sets to watch the first American program to air in the post-communist era. Not only the world of American culture portrayed through Santa Barbara was mesmerizing, it also provided a possibility for escape from the bitterness brought on by the collapse of the Soviet Union. In a place shrouded in snow for most of the year, where the average temperature seldom climbs above 40F, the warmth and sunlight of that Southern California town and the luxuries if its inhabitants hypnotized most of my fellow countrymen, and certainly myself.

After that email, the young woman, named Antonina Grib, who had come to the US on a tennis scholarship, contacted me again, eventually came to LA to intern with me on “Passions” and is now a very successful and in-demand costumer in Hollywood, living indeed “the American dream”.

Recently, I was “found” by another fan, this time one who lives in Torino, Italy, who to this day  loves Santa Barbara. He runs a fan site in Italy and his interview with me appears this month at the link right below this post.

He wrote me: 

Santa Barbara came to Italy in 1989  and it ran until the last episode in 1999. I followed the soap from the beginning until the end and never missed one episode.   And I often wonder: Why?

The reality is that “Santa Barbara” struck my imagination because I could share it with the person who most of all taught me something about life, my grandmother, Grace.

.

When I was about 12 years old, one morning I was awakened by a mild earthquake.

My mother rushed to me and to my grandmother to tell us to leave the house immediately for fear of collapse. We did not have much time, so I took a backpack and filled it with all the videotapes of Santa Barbara. Nothing else interested me, I just wanted to save “Santa Barbara” - (What a hero!). When my grandmother saw me full of videotapes, she began to laugh and then all of us began to laugh. The house did not collapse... perhaps for this reason. That was many years ago, but if there was to be another earthquake today, I would do the same.

So if my career creating lovely costumes for characters on stage or in films and TV has brought a little bit of joy, then that makes it all worthwhile.

Santa Barbara Blog: AN UNUSUAL AND EXCLUSIVE INTERVIEW WITH DIANA EDEN...

Santa Barbara Blog: AN UNUSUAL AND EXCLUSIVE INTERVIEW WITH DIANA EDEN...: Diana Eden has decided to release for you of " Santa Barbara Blog " an exclusive interview about her experience in " Santa Barbara ". Du...

MORE THAN A LITTLE BIT COUNTRY: REBA AND STACEY

This past week I had the pleasure of doing the wardrobe styling for a music video starring a young Canadian singer, the up and coming country vocalist and song-writer Stacey McKitrick. As I went to research her, I saw that one of her idols was Reba McEntire. Interesting co-incidence.

Years ago, when I was just starting to make a name for myself as a designer, I got a phone call from a personal manager who was looking for someone to design an outfit for another up and coming country singer, namely Reba McEntire. Reba and I met for a coffee to see if we were a good fit and though I had never much listened to country music, Reba was so down to earth and engaging I felt I could do a good job. 

In looking for inspiration, I turned to a current passion of mine, patchworking, and decided to design for her a high end “log cabin” patchwork skirt, made out of cotton prints in rusts and browns, which I  then had lightly beaded to add that show business sparkle. The blouse was a peasant style, again in a lacy fabric that was also embellished with some beads. 

The tricky part for me was that I chose to have the outfit constructed at Bob Mackie’s company, Elizabeth Courtney Costumes. It was tricky because, on one hand I knew that the workmanship would be brilliant, but awkward, as Bob had been my first employer and mentor,  and now I was expecting to be treated as an equal while bringing my client to his costume workroom.

Everything went well, Reba loved the outfit, and on the evening of the CMA Awards I watched anxiously from home to see my outfit. Horrors! When I first spotted her she was not wearing it! But then later she changed, and when the 5 nominees for Entertainer of the Year were announced, and Reba WON for the first time in her career, I got to see my outfit go up on that stage to accept that award!!

Many years later I was filming a TV series at Sony Studios and saw that she was also filming her sitcom “Reba” a few sound stages away. I was nervous about dropping by to see her, because now she was a huge star, but she was extraordinarily gracious and kind, and sang praises for that costume, telling me it was now on  display in the CMA Museum in Nashville.

So then last week, I got to meet and outfit the lovely Stacey McKitrick, for her first music video. From a small town just outside Vancouver BC, Stacey is tall and stunning, and I and everyone on the crew had a ball working with her. Her music is great and I hope when she is up for her first CMA award, she will call on me!  

For information on online costume training, please visit me at http://hollywoodmentors.com

Chimps, Orangutans, a dog and a rat

Strangely enough, not all my actors have been human. But if you are against putting dresses on dogs or costumes on animals in any way, this post is not for you. 

The first non-human I costumed was a primate called “Bubbles”, owned by Michael Jackson. Bubbles was cast as the mascot for the Peaches team in “A League of Their Own” and had to have a Peaches uniform made for him. My assistant Kiki and I called the trainer and asked for his measurements! - chest, waist, shoulders? do they have shoulders?  We just applied what we usually asked for when measuring humans. When Bubbles came for a fitting, he sat on the table as we tried the outfit on and looked at me with big brown eyes. The dress was a little big. “Can I pin it?” I asked the trainer. “Will he be OK with that?” “ Yes”, he replied, “as long as you don’t stick him”. Believe me, I was VERY careful.

But by far the most extensive and varied were my costumes for non-humans on NBC’s daytime drama “Passions”, a show that never vied far from the weird, exotic, magical, and unique.  In one scene one of the characters has a bad date and turns her nasty suitor into a rat. To make the point, we had to make a little vest for the rat to match the one that the charactor was wearing, and figure out how to keep it on him. And yes, the rat was brought in for fittngs, three in fact.

But anyone who watched Passions for more than one episode knows of the character “Precious”, played by a young orangitang called Bam Bam (a male). Mrs Wallace, Beth’s mother, was so cantankerous that all her nurses had quit, so they finally hired Precious the nurse to take care of her! Then Precious got a crush on Luis, played by the soap opera-gorgeous Galen Gering, and began having daydreams about him! So I had to create outfits for these many fantasies! First I had to make him a wedding gown, then a Scarlet O’Hara “Gone With the Wind” outfit. Then a hot pink peignoir with boa trim. Then an Olympic skating dress in blue sequins. And many many more.

One of my favorites was a green velvet cape with white fur trim for a winter skating scene. I had spotted the cape at a well known vintage store, a child’s cape. I didn’t have the heart to tell the owner that I was putting the lovely vintage cape on an orangutang.

We all adored Bam Bam. On the days he was coming up to the wardrobe department for a fitting, all the wardrobe crew wanted to come and watch. He arrived piggyback on the back of his trainer (who had him since birth) and stood on our big cutting table. Out came the outfit, and on the direction of his trainer, he would lift first one leg and then the other to step into it. So cute. Once I apologized to his trainer for putting him a particularly frilly outfit, and he told me, “he’s an animal, he doesn’t know its pink and frilly”. Oops, of course not.

Not everyone liked seeing this character. There were protests from animal lovers who felt it was un-natural (which of course it was) and cruel. However, other than the fact that Bam Bam didn’t like wearing hats and got bored from too long a shooting shceudle (much like human actors) he never seemed unhappy. He loved getting picked up and posing for photos with his arms around his human friends.

Eventually, Bam Bam grew into a fully grown adult, meaning his acting career was coming to an end. It was a truly emotional day when he did his last scene and all the actors and crew gathered on stage to say goodbye. He seemed to sense that something emotional was happening as he looked at all of us sillies crying our eyes out.

Bam Bam went to a “retirement home for primates” in Florida. Honestly. Every once in a while we hear that someone has ben to see him and that he is healthy and happy and being very orangutangish. 

Don't forget to visit me to find out more about online costume training at

http://hollywoodmentors.co

THE POWER OF RED!

When I was watching the Emmy Awards recently,  every time a gown made an impression on me, it was a red dress! See Kerry Washington, Lea Michele, Sofia Vergara, and  Kate Winslet. I guess I just love red dresses.

There are a couple of iconic red dresses that are burned vividly and indelibly into my brain, never to fade. One was designed by the wonderful Aggie Guerard Rodgers for “The Color Purple” (for which she was nominated for an Oscar Award). It was worn by Whoopi Goldberg as “Celie”, and in the scene she was running along the road towards her house. An ominous grey sky was behind her which made the dark red dress become so much more intense as it swirled around her, and the whole mood felt intense and slightly dangerous.  I’ve often wondered if Aggie just got lucky that day with the weather - would it have been as dramatic on a day with blue sky and sunshine?

The very first costume I designed for a major client was red and was for Ann-Margret. It was for a disco number (yes, disco..... this was a while back!) for her big nightclub act at Caesars Palace, and later the number was used on a TV special. I had already designed the outfits for the male dancers, and now I got to design a dress for the star. The first time she emerged on stage wearing my dress was a moment I will never forget!

But if I am to define red, in a perfect world, it would be a beaded gown by Giorgio Armani on exhibit in Rome at a retrospective of the fashion designer’s work. I was in Rome on holiday and read about the Armani exhibit mounted at the ancient Roman Baths of Diocletian. We entered the exhibit, and the first cavernous room was exceedingly dark. I wondered who would be so perverse as to not light an exhibit so one could see it!  But as our eyes gradually adjusted, we could begin to see display cases of the designer’s subtly colored and understated daywear emerging from the shadows. The shapes were uncluttered, slightly androgynous, and executed in his “greige” palette.  But then we entered the next room, also dark. A single spotlight mounted up high shone onto a red beaded gown, and I gasped. The way our eyes had adjusted to the dim light in the previous room must have accentuated the brilliance of this dress. To me, it was the essence of red. The ultimate red. I shall never forget it.

Most of the time, especially in film, costume designers’ clothing for the actor should be so organic to the actors character that you are unaware of it. But once in a while, a costume is so dynamic to the moment that it lives in one’s memory forever.

For online costume training, visit me at http://hollywoodmentors.co

STARS IN THEIR UNDERWEAR: WHAT REALLY GOES ON IN A WARDROBE FITTING!

I must say, as a costume designer for primarily contemporary films and television, I LOVE what goes on in the fitting room. It is where the actor and I find the character. Together.

By the time I meet the actor, I’ve already talked to the producer and found out what he/she wants (“don’t spend too much”), I’ve talked to the director about the concept, and I’ve talked to  the production designer about the palette.

I’ve done the research, I’ve let it all brew together in my subconscious creative center. I’ve done the shopping, renting, sketching, and now the actor is coming in for a fitting. 

I set up the room with the mirror, good lighting, lots of pins and tags, and the selection of clothing that at this point is just “wardrobe”. With the actor, it will become a costume.

After the initial introductions and small talk, there will be that awkward pause, as the actor realizes he or she must undress and stand before me, near naked and at his most vulnerable. (Does my butt look big? Are my tits sagging? Did I wear clean underwear?)Some actors are totally comfortable “dropping trou” and getting ready to try on clothes. Others are more hesitant, as often it is the very first time they have met me. So at this point, I have to make a decision. Do I step  out of the room? Do I busy myself filling out a tag or looking at my notes? 

Often I just say “are you comfortable with me in the room?”. After years of experience, I can usually sense when I need to step out. I usually do so for really senior actors (even though often they are the most cavalier), for actors whose bodies might cause them to be self conscious, and for cerrtain ethnicities. I actually learned the hard way from an Indian actress who wouldn’t undress in front of me - she told me a woman of her culture would never disrobe in front of another woman.  And I ALWAYS step out if it is a child, as I expect them to have their parent or guardian with them.

Then the fun begins. We try on clothes. I have already brought in the clothes that I think will help them find the character, but I can never tell until it actually goes on the body and the actor “inhabits” it. I try and limit the number of “opinions” in the room, discouraging comments from assistants, girlfriends, agents, etc, so that I can carefully guide the actor into the outfit that I think works perfectly. They need to trust me, and I, in turn, need to earn their trust. I never tell an actor they look good if they don’t. If something is really looking awful on them, I make it my fault saying “damn, take that off, what was I thinking bringing that in”. I also know not to say “OMG, you have such a hot body!”, even though I might be thinking it!

Eventually I can tell from the most subtle of body language that the actor is starting to feel right in the clothing. Now it is beginning to become a costume. Now all is left is to do the alterations that make it perfectly adjusted for their body, photograph them in the wardrobe to send over for approval from the director or producer, make tags and notes for scene numbers and voila, we have a costume!

If the actor turns to me and says “i didn’t really find the character until I put on this costume”, you will find me beaming from ear to ear, as I have done my job.

Being out of your comfort zone is good for a career.

I am around young people a lot in my role as costume designer for independent films, videos, commercials etc and in my role as a mentor, and I am often reminded how terrifying “first times” can be in a career, especally at the start of a new job, a new film, a new anything that requires you to work in your chosen profession and risk failing. 

But risk-taking is essential for moving forward in a career. When I am asked, should I quit my day job and go for full time acting/directing/designing? Should I move to LA? Should I quit the full time dancing gig I have (in the chorus, where I can go no further), and risk everything auditioning for principle roles?..... my answer is always yes! yes! yes! If you are asking the question, then you are ready to take the next step. You must take the next step. If you are too comfortable, you won’t move forward. Somehow the very act of making that scary leap of faith forces you to land on your feet. 

Many years ago, when I was a dancer on Broadway, my friends thought I was crazy for turning down a new job in the long running show “Hello Dolly”, but it was another chorus job and I wanted to act. It took a while, but I eventually got my first acting role as Gendolyn Pigeon in the National Company of “The Odd Couple.” 

Some years later, after five years of being an assistant costume designer, (though an assistant to the very best, Bob Mackie) and wanting to move on,  it took working days as an assitant and nights designing low budget theatre projects for no pay. I often was so exhausted I thought I would die.  But I got my name out there as a costume designer in my own right, which eventually led to my first paid costume designer job on “The Fact of Life”. Flash forward: after I had designed half a dozen TV sitcoms, one producer had the nerve to tell me that I would NEVER get hired for a serious drama or movie, since I was known for sitcoms. I took great delight in proving her wrong! 

The scary times were many. But what I learned is this:

• You never die from exhaustion. You may feel really lousy and think you are going to die, but you don’t.
• You won’t starve. You may get a tiny bit behind on your bills, but you won’t starve.
• You will never get hired for a job that someone doesn’t believe you can do, even if you don’t quite believe it yet yourself.
• You can get through those first frightening days and weeks of a new job if you keep showing up, staying calm, listening and watching, and most of all, believing that each day will get a little easier and you will feel a little more confident. Before long you will feel totally confortable in your position, and before you know it, you’ll want to be out on the edge again!

Remember to check out my online costume training program at http://hollywoodmentors.co

What is Diana Ross really like, really?

One day, the phone rang in my bedroom very early, In fact my husband and I were still in bed asleep. He answered  the phone, and then turned to me wide-eyed, saying “it’s Diana Ross”!!. She was in Atlantic City,  was a week away from embarking on her European tour, and was short one wardrobe assistant. Bob Mackie had recommended me. Could I fly to Atlantic City tomorrow to meet with her?

And so I did. A ticket was sent, a car was waiting to pick me up at the airport, and I was brought directly to meet her backstage where she was appearing at one of the big hotels. Right away it was discovered that both of us having the same first name was not going to work, and since she obviously was not about to change her name, I was asked to quickly choose a name for myself that she could call me. On the spot, what name do you choose? Diane -- too close. Dinah - nah. Beatrice, my middle name? Quaint, but not right. So I settled on “Dee”, and that’s what I became for as long as I worked with her.

People often ask me what Diana Ross is like. The impression often is that she is a grand diva. But that’s not what I saw. I saw someone who was driven to be the very best she could be, but who at the same time was also very protective of her hard earned stardom. She made sure that she enjoyed the best for herself in hotels, dining, clothing, jewelry, private planes and limos. She adored the police escorts she sometimes got leaving a concert and heading for the airport. But she also treated her musicians and crew to the finest in hotels, the best catered meals, and private planes to transport us around. In return she expected 110% from all of us.

There was always a bit of a push-pull dynamic between her and her musicians and crew. She kept the line very clear between her as “The Boss” (in fact, we all had to call her Miss Ross). She was not our pal, our girlfriend, our drinking buddy. Not at all. But at the same time she considered us all her tour family, and took very good care of us.

She insisted on signing all the checks, since she felt that was the only way to keep an eye on and some control of the money. This however, sometimes could be a problem. If she was exhausted from flying around, performing  and doing press,  a huge pile of checks to be signed would pile up, and pay day was sometimes late. 

One concert venue gave me an interesting insight into her. We were playing an old arena (in Hershey Pa.) and the dressing room they had set up for her leaved a lot to be desired. She usually was quite demanding about the privacy, decor, and everything else for her dressing room, but it was obvious that in this particular arena, those usual needs were not going to be met.  I mentioned something in apology, and she said “Oh Dee, I have seen far worse than this in my touring days with the Supremes. If its honestly the best they can do, you just have to go with it”.  I had seldom heard her refer to Motown days or Supreme days, so this was an interesting revelation.

Other than her body guard, I was probably the one who was closest to her for most of the concert. I got to the venue early, was shown the room which would be her dressing room. I organized how it could be draped or reconfigured to meet her needs. I surveyed the food and drink that was ordered for her to make sure nothing was forgotten. I set out her make-up on the table for her, put the shampoo in the bathroom, lined up her shoes. Once we got close to show time, where she was preparing, I was even the gatekeeper! If there was a knock on the door and her musical conductor, Joe Guercio, or her lighting designer Allen Branton wanted to see her, they had to ask me. I would then ask her if she would see them.

I would also set up her quick change areas for those incredibly fast wardrobe changes. Even those had very specific requirements. There had to be four walls and a roof drape for total privacy,  enough light to see well, a good mirror, a chair for her to sit on to make a shoe change, and a pot of hot coffee, which I had to struggle to make the exact right temperature. As she came rushing off stage, I would strip off her gown, and help her into her next gown. The shoes were the worst -usually high strappy sandals which I had to wrap around her ankles and thread through the buckle as fast as I humanly could, fingers shaking or not! Once I did it in record time and without thinking I slapped her on the butt as if to say, go girl! Then I realized what I had done. But she was off and on stage singing, and I don’t think she noticed.

I was also with her at the famed Central Park Concert that got rained out....but I’ll save that for another time. It deserves a post of its own!

And don't forget to visit me at http://hollywoodmentors.co

Late Bloomers and Mentors

One of the things that has inspired me to launch HollywoodMentors.co are the emails I receive from aspring designers who ask me for advice about how to get started in a career in costume design. 

It is not an easy question to answer, as the business is so unique, the locations where one can be a designer so few and far between, and the way in so different for each person. But what I DO know is that it is always possible for those who have the the persistence, perserverence, and down right tenacity to do whatever it takes to get that foot in the door.

I once interviewed several highly successful designers about their career beginnings. Al Wolsky, for example, seven time Oscar nominee, and two time Oscar winner for Bugsy and All That Jazz, started “late”, in his thirties. He had started his professional life as a travel agent, working in his family’s firm, but felt after a while it was not for him. He got a job “picking up pins”, as he puts it, at famed costume workroom Barbara Matera’s. The point is, he was willing to do the lowliest of jobs just to be in the right environment and in a place where he could learn from the best.

I did not start my career in costume deisgn until I was in my thirties. After a number of years dancing in shows on Broadway, followed by another 5 or 6 years touring in national companies as an actress, I moved to Los Angeles and met a man who was looking for someone to coordinate wardrobe for the dancers and singers in Ann-Margret’s Las Vegas nightclub act. I didn’t think I knew much about costumes, but I knew about dancers and their needs and next thing I knew I was flying up to Las Vegas, staying at Caesar’s Palace, and organizing and prepping mulitple outfits for 8 dancers and 4 singers. I was working with Ann-Margret, Roger Smith, and was soon to meet my future mentor, the fabulous costume designer Bob Mackie.

It was never officially called “a mentorship” as I was hired and paid as one of his assitants for the show “Jubilee”.  I can trace every job I have had in the last 25 years to my start with Bob, and just about everything I learned about costumes I learned from him. 

As the saying goes, “ luck is when preparation meets opportunity.” I was one lucky girl! 


More on my costume training at http://hollywoodmentors.co

Thomas Haden Church's fashions on Ned and Stacey

The TV series Ned and Stacey brought me my first fan letter! It was from a guy in New York who just loved the way Thomas Haden Church was dressed and wanted to know where he could buy similar clothing. It was so exciting to know my choices had an impact!

I was hired to costume design the sitcom New and Stacey just days before production started on the first epsidode, and literally one day before TV Guide did the photo shoot for their Fall Preview issue. I talked to Tom by phone and got a sense that he liked the high buttoned jackets and vests he had worn in the pilot. I had one day to race around and gather as many choices as I could - I think I worked 16 hours that day! Then I met with Debra Messing, who immediately looked at the long bias-cut skirt I was wearing and said “Can I wear that?”, so I took it off and lent it to her to wear for the shoot.

That’s how my two seasons with this marvellous show started. Thomas Haden Church and Debra Messing, though totally opposite personalities in reality, were a perfect comedic foil for each other in this crazy sitcom. I had grown tired of designing sitcoms, but this one piqued my interest with its quirky characters, sharp writing, and the opportunity to do something really different in the costume department.

I have to credit Tom for initially creating his look. He in no way wanted the usual sitcom look - the “Seinfield” style - jeans and casual shirts. He wanted Ned to be formally dressed no matter what, buttoned up and wearing a tie, even cooking in his kitchen.Tom is tall and slender, a size 42 long, a perfect figure for male fashion.  I used almost exclusively four button jackets for him (not easy to find), with vests with a very high stance worn underneath. A few were purchased, many were made. Shirts were crisp and with a high collarband where possible, as his neck is long, and his ties were of very stongly colored regimental stripes. Since such a small part of the tie showed, we needed that punch of color.

I was very proud of some of the more daring looks I created for him. I had several wing tipped shirts, usually made only in white for formal wear, made in striped fabrics. I also did a white scarf wrapped around his neck, Beau Brummel style, for a New Years’ Eve formal outfit. One fan wrote and said he was copying the look for his wedding. I was tickled pink when Church was named “One of the Best Dressed Men on Television” by TV Guide, “E” Entertainment, and the Atlanta Journal Constitution by Scott Walton, who declared the sitcom to be “more fashionable than anything else on TV.”

Tom’s humor was dry dry dry! Debra, on the other hand, is funny, outgoing, disorganized, generous, and everything with her was right up front. I went for an eclectic look for her, mixing tops and bottoms together that were flattering but unexpected. She liked a special one-of-a-kind jewelry made by designer Aklia Chinn, which has an exotic ethnic style.(aklias.com/ ) Debra also refused the producers requests to pad up her bras - she saw no need to fall into that cliche. She is her own person.

The two other leads were the darling Greg Germann, whom I had costumed on the drama Sweet Justice, and later co-starred in Ally McBeal,  and Nadia Dajani, who opted for a very New York look. Some of the “unknowns” who had guest starring roles were Megan Mullally (pre-Will and Grace),  Marcia Cross (pre-Desperate Housewives), Kathy Griffin (pre-LIfe on the D list) and John Slattery (pre-Mad Men) 

It was one of the big disappointments in my career that Ned and Stacey never had the huge mainstream success that Debra’s next hit show, Will and Grace had. Ned and Stacey suffered from a change of networks between season 1 and 2, and never got the full power of a network behind it. However, it has a huge cult following, and I often hear how much the show was loved. I know I did.