Tag Archives: film industry

Why Costume Designers Always First To Encounter Actors

During the 12-year span of The Naked Truth, many of the world’s most alluring and enchanting actresses passed through the costume fitting room doors of costume designer Jean-Pierre Dorléac atelier.

Among them were Maude Adams, Jonelle Allen, Eve Arden, Belinda Bauer, Marisa Berenson, Joan Blondell, Ahna Capri, Kim Cattrall, Rosemary Clooney, Arielle Dombasle, Barbara Eden, Britt Eklund, Anne Francis, Eva Gabor, Erin Grey, Pamela Hensley, Olivia Hussey, Anne Jeffries, Maren Jensen, Carole Lawrence, Kay Lenz, Sondra Locke, June Lockhart, Sarah Miles, Anita Morris, Patricia Neal, Sheree North, Andrea Marcovicci, Yvette Mimieux, Donna Pescow, Eleanor Parker, Daphne Maxwell-Reid, Barbara Rush, Cybill Shepherd, Brooke Shields, Jill St. John, Jean Simmons, Laurette Spang, Camila Sparv, Stella Stevens, Ann Southern, Gloria Swanson, Liz Torres, Sela Ward, Lesley Ann Warren, Nancy Walker, Alfre Woodard and “Mae West.”

Original Battlestar Galactica Costume Design Sketch

Forget about a painted façade, towering elaborate hairdo, ostentatious and chunky borrowed jewelry, an overly pushed up décolletage and a see-through spangled gown—the true magnificence of a movie star is in her demeanor and sincerity, not in the all-too-plastic manifestation.  As has been stated many times, “beauty is only skin deep.”  With all the cosmetic surgery and filler injections available now, that is hardly true any longer.

Deep beneath the surface of what everyone sees is where the true splendor of a person lies.  It’s not in the eyeliner or false eyelashes, bright lip gloss, rouged cheeks, stiletto pumps or wearing something someone else has borrowed from a designer you never heard of … although in the ongoing Hollywood parade where everyone tries to out “glam” one another, it appears to be de rigueur.

Few of the true beauties ever subscribe to such theories.  What made each of them unique and magnificent were their skills, goodness, kindness and attitude, above all.

Life Looks Better When You Do 1985
Life Looks Better When You Do 1985

Many of the greats never wore anything but casual clothes when they went about their daily lives, sans make-up and glitz.  Few were pretentious and none thought of themselves as better than anyone else.  The ones that professed to be “the best” usually had the shortest careers in the long run.

Since costume designers are always the first to encounter an actor or actress, usually hired unseen through casting, their experiences are the bar by which those who have yet to work with these performers is measured.  Depending on the first encounter, many artists are never hired again because of their lack of professionalism and ability.

In The Naked Truth, award-winning costume designer Jean-Pierre Dorléac’s entertaining chronicle of 12 years, readers will revel in the highly explosive stories that are filled with entertaining confrontations of every nature and, heretofore, untold tales of the glitter and tinsel capital’s drastic change that began in the early ’70s.

This often funny and quite fortuitous success story is filled with splashy tales and entertaining confrontations involving glamour, politics, graft, sex, scandal, and candid accounts of the glitter and tinsel capital’s assets being sold off by the new capitalist.

About the Author
Jean-Pierre Dorléac is no stranger to the film industry.  His award-winning costume designs can be seen in Somewhere in Time, The Blue Lagoon, Heart and Souls, Battlestar Galactica, Quantum Leap, Knightrider, Airwolf, The Lot and numerous other award winning productions.

The Naked Truth
by Jean-Pierre Dorléac
Publisher:  Monad Books
ISBN: 0974551111
Book and e-book available nationwide at independent and major book stores, Amazon.com or contact marketingdirector@thesilo.ca

Guess Which Canadian Tourist Trap Has Featured In 143 Films

Forget about the recent media bashing. Niagara Falls is only a tourist trap in the sense of its awesomeness. How can anyone resist visiting? With that truth in mind, new research has revealed that Niagara Falls is the 4th most popular filming location in the world, having played a starring role in 143 films, including appearances in Pirates of the Caribbean and Superman 2 (1980).  

Giggster- a film location service, has revealed the most-used filming locations around the world, the locations that have the highest-grossing films, and the countries that have featured in the most movies. So, how does Canada fare?

Thor. Old Royal Naval College location London, England.

💰Niagara Falls is the sole location used in Canada from the study – featuring in 143 movies, with an average box office gross of $212,260,000 usd / $274,667,624 cad from its top-three films but so has Toronto (David Cronenberg’s 80s horror masterpiece The Fly) , Vancouver and Montreal as well as the Eastern and Western Provinces have also been featured in Hollywood films.

The research has also revealed:

🗽Central Park in New York is the most-used film location in the world – featuring in over 352 movies.

💵 The Griffith Observatory in Los Angeles is the highest-grossing filming location on average ($253,366,667 usd / $327,860,268 cad ).

The Griffith Observatory was also seen in the Disney cult favorite The Rocketeer.

🎥 The top 3 countries featured in the most movies are, The United States, The United Kingdom and Canada.

US locations featured in over 900 more movies than any other country; The states featured most are New York, Arizona and Massachusetts.

Video Producers Using Unreal Game Engine For AR Graphics And Sets

LAS VEGAS —  A couple of years ago, ChyronHego announced a partnership with leading game developer Epic Games to integrate the Unreal Engine with ChyronHego’s family of augmented reality (AR) graphics and virtual sets solutions. With the integration, news broadcasters and other customers of ChyronHego’s Neon and Plutonium software will be able to leverage Unreal’s industry-leading rendering and real-time special effects capabilities to add powerful new photorealistic and hyper-realistic elements to their on-air virtual sets. Only a decade ago, editDROID and other Laserdisc based systems were still commonly in use with a much more rudimentary set of effects possibilities- this new Neon and Plutonium software system is an industry wide ‘game changer’.

Here is a look at 2017’s  ChyronHego’s live use demo-

“In an environment that’s more competitive than ever, our broadcast news customers are on a constant search for innovative ways to tell a better story and captivate viewers,” said Olivier Cohen, senior product manager, virtual solutions, ChyronHego. “Virtual sets that harness the amazing graphics capabilities of world-class gaming engines are the wave of the future for news, sports, and weather broadcasting, and Epic Games is the perfect partner to take us there. The integration with Unreal is just the latest link in our CAMIO Universe strategy to place the industry’s most powerful storytelling tools at news producers’ fingertips and drive template-based, unified news and weather workflows.”

“Since we launched Unreal Engine 4, it has become one of the world’s most powerful rendering engines for the game industry — but its flexibility, real-time performance, and robust set of tools make it ideal in just about any type of content creation workflow,” said Marc Petit, general manager, Unreal Engine Enterprise at Epic Games.

Augmented Reality Broadcaster set

“ChyronHego’s AR and virtual set solutions for broadcast production are the ideal match for Unreal Engine. By partnering with one of the leading broadcast graphics providers, we can continue to expand our presence in the broadcast, film, and entertainment industries.”

ChyronHego will work to integrate the CAMIO graphic asset management server with Unreal Engine, including creating broadcast-specific camera movements. Unreal’s 3D graphics engine enables producers to generate AR graphics through the templated workflows of the CAMIO Universe. Via custom user interfaces built with ChyronHego Live Assist panels, producers can then present the AR graphics on air using ChyronHego’s Plutonium and Neon virtual set and robotic camera tracking solutions.

Unreal GFX Engine logo

Cohen added, “As one of the world’s most powerful rendering engines from one of the world’s foremost gaming companies, Unreal will bring new levels of openness and scale-ability to our virtual set solutions. Unreal Engine is easily customizable and expandable, and five million users around the world will benefit from Epic Games’ vast reach across the global community of gamers and game developers. It means news broadcasters will be able to render effects in their virtual sets that rival anything their viewers have seen in the gaming world, with special effects like real-time shaders, bumps, sliders, and highly photo-realistic objects.”  For the Silo, Lyndsey Albright. 

Supplemental- The Revolutionary Video Toaster and Amiga Computer system 1991. 

Our Vintage Computer Was Used In The Thing Prequel

Computer display in John Carpenter’s 1982 sci-fi classic The Thing,

Getting Into Hollywood Accidentally…When I conceived the idea of a computer and technology museum around 25 years ago I didn’t concern myself with things like revenue models and how the place would be funded. Instead, I just worried about getting the coolest (and oldest) pieces of technology I could in order to have the best displays possible and appeal to the widest range of people.
Fortunately, I still think like that. However, the reality of having to pay bills for storage and electricity and all of the other things that come with running a proper business (and make no mistake, a museum is a business) means that on top of having some of the greatest technology pieces in the world to look at I must find ways of making money along the way.

A couple of years ago a production company called me asking for some early computers to use in a documentary about the origins of the internet that was going to run on the Discovery Channel (or was it the History Channel?) The guy was such a quick talker that I never really got a chance to get concrete information on what the show was going to be called or when it was going to air. To this day, I still don’t know if it ever did.

Then the CBC called. They were looking for an older computer running DOS with WordPerfect, the de facto standard in word processing – in 1989. An upcoming episode of “The Fifth Estate” required a computer recreation from the 80’s and they wanted to know if I could help. I missed the initial call and by the time I had gotten back to them, they had located something locally. It was at this time, however, I started thinking differently about our collection.

Some time had passed, and then the television show “Design By Decade” called. They needed some pictures of machines from the 90’s (and yes, in terms of computers, these are now quite ancient) and then Wired magazine asked for pictures as well. People writing Wikipedia articles were asking for permission to use some of our unique photos of machines to enhance their submissions. I started to think that we were really onto something.

When I first heard about a remake of 1982’s “The Thing” I never knew I would have something to do with it. A production designer called about putting computers from that time period into the 2011 remake. The only unfortunate part, because of the nature of the film, was that they would require purchasing the computers, not just renting them. “I can’t very well rent them from you and potentially return them with fake blood on them now can I?” I recall her saying. I had to agree. In the end, none of our computers actually made it into the film but I did my part as a consultant and helped steer the production in the right direction.

Earlier this year (2012), someone from Cineflix Media called. I recognized the name from the American Pickers and Canadian Pickers shows I somehow ended up addicted to. They required a recreation of a 70’s something office with computers and related materials. Dubbed as the “world’s most heroic airborne combat missions” it seemed like the furthest subject matter from computers I could think of, but hey, everyone needs to have an office, right? Getting paid for renting out our equipment was a real bonus, plus we got to be part of something cool. Now I found myself thinking about what the television and movie houses might want and have started acquiring those machines. Typewriters and old cell phones are now filling the nooks and crannies of our storage units.

Most recently a Toronto production company called, producing a film called “Public Service”. A short film that will make its rounds in the film festivals next year, it stars Gil Bellows (“Ally McBeal”) and Sheila McCarthy (“Little Mosque on the Prairie”). The majority of the film takes place in a government office in the mid 70’s and required some hard to find computers. A large one that normally sits in storage because it’s too big for even us to display was used during filming. We are excited to see how it all turned out, but we now feel like we’re pros at renting our stuff out to production companies.

We are presently working on expanding our website to included film and television production rentals as part of our service offering. It has not only become a nice revenue stream for the museum but it’s also exciting being involved in television and film. From the CRT screen, to the LCD screen, to the Silver screen we go!    For the Silo, Syd Bolton. 

 

 

Poltergeist 1982 ★★★★★ Watched Again In 70MM In Hollywood

Warning- mature themes and language use in this article. For the record, I think Poltergeist is every bit as much a Tobe Hooper joint as it is a Spielberg flick. Maybe he didn’t deal with the actors as much and maybe he wasn’t involved in the post-production process, but there’s enough here visually for me to point out similar types of shots and lighting and camera movements in stuff like LIFEFORCE — not to mention a particular kind of coked-up hysteria that occasionally rears its long-haired sweaty-toothed head in pretty much all his films.

Mainly, I want to bring up that scene where visiting paranormal investigator Marty looks at himself in the mirror and…well, you know (or don’t know, which is why I don’t want to spoil it). What really bugged me before that part was Marty raiding the kitchen for some late night eats at the Freeling house; he grabs a leftover chicken drumstick, and that I can understand. But then he pulls out a big raw steak from the fridge and puts a pan on the stove, which made me think What Fucking Balls On This Guy.

Steak has been, is, and always will be expensive. It’s one thing to jack some cheaper stuff from someone else’s fridge, but goddamn steak?! And then to put that steak on the kitchen counter without a paper towel, foil, plate, nothing underneath it! Just plop that raw bloody steak anywhere, chief.

(And not a single hand was washed.)

It’s inconsiderate, is what I’m saying. I bet Marty didn’t even put the steak back in the fridge after his freakout either, the fuck. He deserved what he got.

Poltergeist was released in the Summer of 1982 and was directed by Tobe Hooper, although rumors persist that some/much/all the directing was actually done by Stephen Spielberg. Many actors have been quoted as stating that Spielberg was behind the camera and directing the shots that they were in. For the Silo, E.F. Contentment.


Synopsis- spoiler alert.

They’re here.
Craig T. Nelson stars as Steve Freeling, the main protagonist, who lives with his wife, Diane, and their three children, Dana, Robbie, and Carol Anne, in Southern California where he sells houses for the company that built the neighborhood. It starts with just a few odd occurrences, such as broken dishes and furniture moving around by itself. However, a tree comes alive and takes Robbie through his bedroom window, and Carol Anne is abducted by ghosts. Realizing that something evil haunts his home, Steve calls in a team of parapsychologists led by Dr. Lesh to investigate, hoping to get Carol Anne back, so he can remove his family from the house before it’s too late.

Supplemental- Grauman’s Egyptian Theater Los Angeles, California.