All language subtitles for Model.1980.1080p.WEB-DL.x264_track3_eng

(seagulls cry)

(elegant orchestral music)

(phone rings)

(women mumble on the phone)

- Zoli.

Yes!

Oh, Renauld, how you doing, honey?

Well, I think I'm pretty good.

Pretty good, how's everything in St. Louis?

- Yeah, see this one-- - Maybe that one.

- This will convert to black and white fine

and this is gonna be a little dark.

- That's too dark. - So, if you had

a color front and a color back, that's fine

but then you could have the inside all black and white.

- Oh, everybody!

Isn't he adorable?

He is, he's fabulous!

Okay, he's all yours!

- Okay, this is for Bloomingdale's.

- We are committing you for another movie

if you and Richard that you'll get,

that you're going up out on Monday

to meet the director and writer

who is the same man, Jonathan Crawford

and the English producer who's coming in

from London on Monday.

- She's being very silly, yeah.

I mean, you know, you're her husband.

I mean, you calling to me that I should do something,

you know?

Huh?

No, no.

No, I mean, you know, that's your job. (chuckles)

- Monday, you have a fitting,

9:30 to 10 at Yves Saint Laurent.

And then you have from four o'clock on,

The Merv Griffin Show.

Yeah and they just called

with your wardrobe which is all shoes and boots.

And then on Tuesday, four to six, is Ron Chereskin show,

and then seven to nine is Yves Saint Laurent show.

- I've got a 180 models, you know?

If I have to chase each one of them, I mean I'd go crazy,

you know, around the globe.

- Jimmy Star, the role for Universal Studio,

one hour pilot for ABC?

22, tall and lean?

What about Philip for that?

- Well, I'll try but it's impossible, I know,

to reach her because I know she's working day and night

over there, you know?

And she's never in the hotel.

Okay, and then when does she go to Paris?

Uh-huh?

That's impossible, the girl is gonna die!

- [Woman] No, forget O'Shea, does not jump.

- They have to be dark.

I mean dark hair.

Rachel Lord does she jump?

- [Woman] And what about Valerie Casey?

- Valerie Casey's in Europe.

Yeah, Valerie Casey's perfect.

This is Revlon print something or other.

- How 'bout Helga?

Does Helga ride?

Does Helga ride?

- I think she rides but does she jump?

What's her home phone? I'm gonna call her.

- [Man] Do you have any orientals?

- Yeah. - Thanks a lot!

Bye bye!

- [Man] Well, with this deal,

they may see him some other day.

- [Agent] Are you with any agency now?

- [Man] No, not as of yet.

I just got back from some extensive traveling

and I'm anxious to get started on it as soon as possible.

- How old are you?

- 23.

- What's your height?

- 6'1.

- 6'1 and your weight?

- 170. - Okay.

Jacket size?

- 40 regular.

- Everything seems to be right.

I think it looks good, I think you've got basic structure

that you need.

What you'll need to do if you really wanna pursue it

with the major agencies, you need to put a little--

You need to put a portfolio together.

You need to shoot more black and white.

It's probably a little more demanding,

and to get some variety.

With your look, you really should do

some sporty things, too.

- And I don't have to concentrate on,

you know, serious pictures, I can get the casual

and formal pictures. - Absolutely.

A lot of smiles, a lot energy.

If you have a chance, take a look at Uomo,

Vogue, take a look at Men's,

Menswear, GQ,

take a look at the kind of editorial things they're doing.

You'll see them.

It's a lot of high energy, a lot of smiles,

regardless of the clothing they're wearing,

even sometimes formal shots.

And that's really what you're after.

- Okay.

- Alright, what I would suggest is

work a little bit with some New York photographers.

You can call 'em, Madison has a handbook list of 'em,

list most of them.

Just give them a call and see if anybody is testing.

And see if you can get some more shots.

I'd be happy to see you back

when you get some more things.

'Cause I really can't make much of a judgment from this.

- Right.

What would you like to see me concentrate on?

- Okay, you'll need to do some head shots,

which means close up,

and you need to do some

active energy kind of things like this.

See, like this. - Uh-huh.

- Okay?

And

casual.

Outdoor,

sweaters, that kind of thing.

And, of course, some kind of formal shot, suit and tie.

Okay?

I'll give you these back.

And just give me a call when you're ready to--

When you have the material and we'll take another look.

- Okay, thanks for your time.

- Alright, good luck to you. - Okay, I'll be back

to see you.

- Bye bye. - Bye bye.

- What do you have there?

- What I have. - Okay, how tall are you?

- 5'6 and a half.

- 5'6 and a half. - Yeah.

- That's a problem, your height.

It's too short from what we do.

- Mm.

That's it right there. - That's it, huh?

At 5'6 and a half,

you're gonna have a very hard time

in New York.

Any agency you call up,

the first question is, "How tall are you?"

And if you're under 5'7, they won't even bother seeing you

no matter how well you photograph, how beautiful you are

because clients want you to be--

You won't fit the clothes, you won't be tall enough,

when you stand next to the other models,

you can look too short.

Things like that.

That's a problem.

That's a problem.

I don't know what to suggest to you.

If you're an actress, then I would pursue more of that,

sort of TV commercials and things like that.

Height is not as important as in fashion.

- Okay. - Alright?

- Thank you very much. - Thanks.

- [Model] The last time I was here.

- Right. - You told me

to get a harder look.

- Yes, right, I remember. - I'm too squeaky clean.

I should be a little more punky.

- [Agent] A little bit more.

The book was-- - I have some

of those shots in.

- [Agent] Okay, if I remember right,

the book was kind of...

- Dull. - A little dull.

- Black and white. - There wasn't

a lot of energy in there.

I remember, sure.

Sure.

You're how tall?

- 5'7 and a quarter. - 5'7 and a quarter.

And your weight now?

- [Model] 112.

- [Agent] Right, Fred!

How's he doing?

- [Model] He's in school!

- Oh, he's back in school? - And I know he's

been back for a few jobs but

I haven't spoken to him in a few months, I don't know.

- Looks good. - Yeah.

Looks good, I love it. (chuckles)

Can I say something about that?

- [Agent] Sure.

- The guy I was working with said

we're gonna shoot black and white

so pour on the makeup, so I pour on the makeup...

- And then he shot color. - He shot color!

(laughs) - Right, figures.

- But I didn't think

it was too bad. - No, it looks fine

because it works, with the hair, the colors,

the extremes on the clothing and the black leather jacket

and the whole bit. - I love the city

in the background.

- [Agent] Yeah, what he's done with the filters.

It looks good, it looks good.

It looks good. - Took two months

to get that all together.

- Mm. - He did shoot it

in black and white. - It takes time,

it takes time.

What I'd like to do is,

I would like to have Zoli take a look at it, okay?

- How old are you now?

- [Model] I'll be 20 in December.

- [Agent] What I would like to do

is let Zoli take a look at it, okay?

I think it looks real good for junior.

And for other things.

You got some good action shots.

I think we've got possibilities!

- I'm gonna have a heart attack!

(laughter) - 'Course you're not!

- Okay. - Alright.

When can you stop in tomorrow?

- Anytime. - Okay, I'll tell you what.

Best time to stop in and see me is about 11 o'clock.

Okay?

(various traffic noises)

- Oh God, that's great!

Holy damn, we got it!

Oh boy!

There you go!

Now, watch--

Oh, I love the face, everything's perfect!

That's good.

Romeo,

no, I want you tip the--

Yes.

Watch your sleeve there, watch the pocket.

Pull it on back a little.

Lift the shoulder and put--

There!

Straighten up now a little.

Turn that way a little.

You did it.

It's done! (camera clicks)

Move that gold cart around a little bit there.

- How's this? - It's a little hotter

up around the eye there. (camera clicks)

Oh, that's real nice!

Whoo, alright.

La-la-la-la-la!

Okay, lean forward a little bit.

A little more.

A little more.

Now, straighten back out again.

Okay.

Let's get your--

Oh, oh God, that's doin' the right thing!

Pull that back a little on that shoulder, honey.

Bring your body to me a little bit, Romeo.

Let me get that pocket.

There, that's gorgeous. (camera clicks)

Beautiful!

Look in the direction of your face.

I'm out.

That's really nice, flavor, Rome-ee-o!

Remember that!

Okay, if you use that, that way, there.

You can give me that really nice

macho

elegance.

Alright, let me look through

and see if I can get hit.

It's a moment.

I wanted that.

It's a very typical, masculine thing

just to be adjusting and don't pay--

There!

Oh, la-di-da-dee, damn!

Bring it up a little closer to you, that's nice!

Oh God, that's great!

Got it? Romeo, eyes to me.

There it is, alright, okay, sweetheart, that's the shot.

Romeo, you're knockin' it out!

Now, wait.

Bring it up closer to your face.

Let's cheat all the way.

Love to cheat!

Oh, lala! Alright!

That's it.

(camera clicks)

That's nice.

Okay, now I'm cropped real tight.

All I get is the cufflink and your face, no hand.

Oh, God it looks great!

(music plays faintly) Shit!

(camera clicks) That's it,

look ahead like that.

- [Man] Check your red (mumbles).

- [Photographer] I got it.

That's beautiful, Romeo, just beautiful.

Now, eyes to me, lower them.

There, there it is!

(camera clicks) God, this should be an ad.

I need...

How can I get...

Romeo, twist that to me a little--

There, there, there!

Don't move it.

Don't move it now 'cause that's perfect!

Don't move it, dammit.

We got it.

That's a beautiful shot, eyes over here, my hand.

(camera clicks)

Oh, la-la-la, that's gorgeous!

You're done, that nailed it.

Okay, let's get a couple of wallets while we're here.

(various traffic noises)

(loud buzzing)

(helicopter thrums loudly)

(radio blares music faintly)

(people mumble faintly)

(camera clicks repeatedly) (seagulls cry faintly)

(various mechanical sounds)

(seagulls cry faintly)

(various traffic sounds)

- Good morning, how are you?

- Great!

- Are you with an agency in New Jersey

or are you doing anything locally?

- [Model] I was with an agency in New Jersey

and a few little runs in the city,

so I did some catalog work with the ones in the city.

And

I've been testing a lot, the last couple of months.

- [Agent] In New York?

- [Model] Yeah, mostly.

- [Agent] There are some things working here.

I think probably, you need to do a lit--

How tall are you?

- [Model] 5'7.

- The only problem that I can see is the height, okay?

5'7 tends to be a little difficult to work with

when you have a sophisticated look,

without a lot of experience in New York.

What my suggestion would be things like this.

Okay?

- Mm-hm, all-American? - Well, they're just fresh.

You know, they're more all-American, they're younger,

they're not as severe. - Sophisticated.

- Rather than the sophisticated

kinds of things you're doin'.

- Right. - You try

and do them a little more...

Like this.

You know, a lot of smiles.

(sighs) I don't lose the junior's the word,

because I don't think you can really go junior.

I mean, you have the cheekbones, the jawline,

the whole thing that's really gonna make you

into kind of a sophisticated look.

But you can do what we would call

I guess, what, Avon kind of look.

It's not quite sophisticated but it is soft.

In between that.

I would do some more testing and then certainly see

what some of the other agencies have to say

and come back and see me as well, okay?

- Alright, thank you very much.

- Give this back to you.

Bye. - Bye!

(phone rings) (people chatter)

- [Agent] Nicole, where are you from?

- I'm from Amsterdam.

I worked there in (mumbles), in Germany.

Paris, Italy, everywhere.

But I have to tell you that I did fix my teeth.

I had braces for seven months.

They got out end of April,

So I've not much pictures but everything is new

from the last two months.

- Oh, fabulous.

How old are you? - I'm 18.

- Nicole, are you gonna be in the United States?

- I don't know yet. - You don't know yet.

Okay.

When will you know?

- I know next year, January.

'Cause now I'm busy with the photobook

here in New York and after that I go to

the Prêt-à-Porter in Paris and stay there for October,

November, December, I take holiday.

- Okay, so you'll be back in New York,

you'll be back January and you'll be ready to work again?

Okay. - Of course.

If I have an opportunity here in New York.

- [Agent] Your book is fabulous.

- You're serious?

Oh, wait.

I have to pull this out.

I had to double (mumbles).

Put it there for protection.

(people chatter)

- [Agent] Fabulous.

That's

fabulous.

Okay, Nicole, can you leave your book with me

and pick it up tomorrow?

- Yes, okay. - Yes?

Oh, fine, do you wanna leave those here?

- Yes.

- [Agent] And then you'll come in tomorrow and

pick your book up

and I'll tell you what Zoli said, okay?

- On Kelly Jackson for the Chanel use.

Apologize for me not getting back earlier

but tell her that $500 which is the bill

that they owe is the lowest

that

we will go

for the re-use of that ad.

- I know but the point is, you can't.

No, and I know they're not gonna scream at you anyway

because they can't afford to.

They have to get you on the set,

they have to have you in a good head,

and you will hold it in.

I'm mean, we have to turn over a new leaf.

Seriously, if we're gonna really consider this

a serious career.

You just can't afford to do this, okay?

And people know, I mean, it's expanding itself,

you're moving into Altman's,

you're moving into various clients,

and they're not gonna put up with it.

They'll book you once

and the second time around what happens is

if you can't show up on time,

you can't have the right wardrobe

or whatever the circumstances are.

Whatever it is, I'm just using it as a hypothetical.

- Unfortunately, the two girls that you need tomorrow

is just

impossible for us.

However, when you get closer to your other

demands for...

Exactly.

Yeah, average all-American beautiful, right.

Okay, bye bye.

All those beautiful girls.

These people are doing a documentary

for a network, a pilot.

It's called All Those Beautiful Girls

and they want somebody very outgoing

like a Rachel Ward or an Apollonia.

New York lifestyle.

Dark, experienced, been around.

They're gonna use two girls,

the other is all-American apple pie.

Blonde

and

you know, either one of these girls would be right.

And the problem is, none of them are available.

Well, maybe tomorrow.

- [Agent] What do they want to do with them?

- It's a pilot

for a nighttime television series about

models and it's called All Those Beautiful Girls.

They want somebody that'll stop traffic.

- [Man] (chuckles) They would do it.

(phone rings) - Zoli.

(various traffic noises)

- Waiting for the bus?

- Yeah, I am.

You?

- Going my way?

(chuckles)

- Well, where are you going?

- Where are you going?

- I'm going to work uptown.

- Oh, uptown, so am I!

- Really? - Mm.

- Where?

- 62nd Street.

- Uh-huh.

- I'm going to 58th.

In Park?

- That's close.

- Right.

(laughter)

- The guy from Days of Heaven, you know.

- [Woman] George Segal are you talking about?

- No, no, no. - Who?

- The actor from Bonnie and Clyde, Days of Heaven...

- [Woman] Oh, Warren Beatty.

- Warren Beatty.

He has that Warren Beatty quality, doesn't he?

- [Woman] Ah, that dimple just blows me away every time.

- [Director] Plus he threw me because I haven't seen him

in a long time.

Mac, you're standing at a bus stop, Pia you walk up.

You're the seducee, no seducer.

- Right. - He's the seducee.

You see this dynamite looking guy,

and it's like it happens, you know, that look?

And then you look away shyly and you keep looking at him,

and ask him, something like, "Are you waiting for a bus?"

Which is obviously what he's doing.

- [Woman] So the rules have changed now.

(laughs) - Yeah.

Only for this, okay?

He got very lucky.

He just used his Brut this morning.

Okay, I mean, I don't want you to go (sniffs).

(woman laughs) I don't want

any of that, okay, so you know what I mean?

I want a shy look, I want a feeling of

a lot of people around you, you know,

how do you speak to somebody.

You know that feeling? - Yeah, do I keep looking

at her or kinda...

- No, don't look at her.

Play it sharp but every now and again you should,

your eyes should come back to her, but then it's kinda like,

you know, "Aw shucks, what is a guy gonna do?"

And then take a positive attitude

and just take that moment.

She'll give it to you, believe me.

- Pia Grønning from Zoli.

- Mac McIntyre from Zoli.

- Hi.

How are you today?

Hm?

You waiting for the bus?

- Yeah.

- Looking good today!

Hey, what do you say about having a cup of coffee

while you wait for the bus?

(Mac chuckles)

Hm?

- Sure! - Do you mind?

- No! - I'd like to get

to know you. - Alright.

- Okay? - Yeah.

(laughter)

- [Director] Not bad, Pia!

- [Pia] (laughs) I hate it!

I like the other way around better!

- (laughs) You've been spoiled!

- (laughs) I think so, yeah, probably.

- No, I like that but what you didn't do for me

is you didn't give me enough face.

- Oh, okay. - You gave it all to him.

- Okay. (chuckles) - Okay?

You should make the approach a little more

like you walk up to him and you kind of,

"Oh, hi," you know, I mean this kind of thing.

Rather than...

- Oh. - Right, it's much more,

there are people around

and you gotta play it a little cooler.

You know what I mean? - Okay.

- Okay. - So, it's not so obvious.

- Yeah, Mac, do me a favor.

Think young executive, rather than guy standing

in a street corner.

- [Mac] Alright.

- Yeah.

Okay.

Okay, terrific, here we go.

- Hi.

Are you waiting for the bus?

- Yeah.

- Hi.

Would you like to have a cup of coffee?

While we wait for the bus?

I think it's gonna be quite a while before the bus comes.

- Sure! (chuckles)

Why not? - Okay, well,

why don't we go in there?

Okay? - Come on.

- [Director] Okay, I think that's terrific.

Thank you very much.

(various traffic noises)

- [Photographer] I'm ready!

(camera clicks) (music blares faintly)

You can move it any way you want!

Let's get some excitement in that mouth, too!

Alright, that's it, that's it, that's the brightness!

Lovely, nice, love it, love it right there!

Love it like that, love that face!

Nice and easy like that, beautiful!

No, no, no, don't change the light position, that's super!

Love that, lovely!

(camera clicks repeatedly)

Nice, nice, nice, nice!

Absolutely lovely!

You're beautiful!

Keep that excitement now!

Keep the vibrance in the face.

A little more sophisticated now.

You know what I'm saying, a little bitchier, okay?

Tighten it up a little bit.

That's it, that's it.

A little less smile.

That's it.

Nice, nice!

Lovely!

Beautiful, perfect!

Okay.

("Still" by Lionel Richie)

Lovely, lovely.

Beautiful, beautiful like that, beautiful move!

Super lean!

No, no, just like that, nice and easy over!

That's it, that's it!

We could do one more ride again.

Just a little more innocent, a little more sexual, okay?

A little more provocative, okay?

(various traffic noises)

- But Jimmy Carter just called you on the hotline.

- Great, great.

- Well, you're not great, so don't say great.

Did you hear something in your head?

Tell the American people not to do me in

in a soap factory down in Bellevue!

I'm in sack and I put up one third of the plans

and you just heard it.

Nod your head yes if you don't believe.

Do you believe in the American government?

Do you believe that I should have a right

on the street as the bell ringer of New England?

(various traffic noises)

(man shouts incoherently)

(various traffic noises)

- [Photographer] You're all freezing!

Good!

Okay, now back up a little bit.

Okay, now, when you come walking right at me

like you did before...

You're happy.

Okay, when you get to about mid-point between me

and where you are now, give us a nice big jump

and a yell, okay?

Okay, let's go!

Let's go, keep those signs at me!

(models cheer) That's it!

Good, good, good!

Good!

Let's do that again, that looked nice.

Okay, come on, let's go.

When we get there, now, let's go!

Good, good!

(women cheer)

(various traffic sounds)

- Okay, yes!

That's it, very nice, yes!

Uh-huh!

Pretty, pretty, pretty!

Mm-hm.

Yes, that's it!

Ah, right, right!

Okay! (chuckles)

Again, try that again!

Yes, right, right!

Now,

Pia,

don't lean too much.

That's it, keep an arm back there, yeah, that's it.

Or you could put a hand on her.

That's it, something like that.

Okay, that's very nice!

Okay, kid!

Alright, I think you're on camera!

Yeah!

That looks nice!

Okay! (laughs)

Whoo, good, uh-huh, okay.

Very nice, very nice!

Yes, yes, okay!

That's it, nice, nice!

Come on, yes, that's it.

Gentle a bit!

Yeah, yeah, yeah!

Okay, yeah, that's it!

Okay!

Fun, fun, fun!

Fun, fun, fun, yeah, yeah, yeah!

Okay, that's nice, nice, yes!

Alright, (laughs) that's it, that's it!

(various traffic sounds)

(siren wails)

- [Photographer] One girl coming in

and (mumbles) in the bathroom.

She changed the station to disco music.

Screen from the bathroom.

It doesn't make any difference in light, Bob.

Do you think?

(Bob mumbles) Quarter stop?

Let's just push it.

Push the film.

It's just sticking up a little too much,

I think. - Yeah.

Well, it was just cut yesterday, so it's in shock a bit.

- Who cuts it? - Uh, Raymond,

you know, at (mumbles) Salon? - No.

You don't go to Bob Fink?

- Bob Fink, no. (laughs) - Isn't he like

the popular haircutter

for guys now? - No,

there's somebody called...

- That's a real name,

I'm not making that up. - Julio.

It's somebody called Julio. - No.

But Bob Fink is the guy that Bruce always uses.

He's like part now of Bruce's staff.

- Bruce who?

Weber? - Weber, yeah.

He's like the guy, he used to always twist the hair

in one of those photos, it would say like,

"Hair by Bob Fink," and the guy's hair would be sticking out

like it's had an electric shock.

Treatment.

Well, as soon as you're ready to get into this,

try to (mumbles), it's a very good deal.

- Oh, yeah? - What else do you need now?

- [Model] Why don't you wet it and I'll just shake it?

- Okay.

- [Model] Really wet it well and then I'll...

- That'll be great.

Doesn't look like they shot you with your handle, is it?

(laughs) Okay.

- Yeah, but you can use (mumbles)

at one of those catalogs like this?

- Like what? - Like this!

- [Photographer] I don't know.

You look great this way!

It looks neat!

- Yeah, but I don't look like All Mister,

All Middle America.

- [Photographer] I never understand that.

That whole thing.

- Mister America? - Yeah, no, do you?

It's so weird to live here!

I mean, I was talking to someone about that last night,

about

design, it was someone who sells clothes around the country

and what people look for outside.

And I realize like how little--

Actually, the light's better, (mumbles).

How little we really are in touch with that

and what they think is-- - Oh, I know.

- You know, it's so weird.

While I was in college and I was clinical stuff,

I used to realize like how when all your friends

are left to whatever, you think that's the whole country is

and you realize that once you go like one minute

outside New York, everybody's like the Republicans.

(laughs) So weird.

Is this ready, Bob?

It's set?

Let's action!

A little bit of lighting.

That looks great.

(camera clicks) Good.

Yeah.

Chin out a little bit more, though.

(camera clicks) Good.

This is color now.

Does it make you think differently?

- Yeah. - I always think differently.

What are you thinking? - Oh, well, no, I don't think.

(laughs) No!

No, it doesn't actually make me think differently.

- Don't say things like that now.

'Cause you know how that gets around.

- [Model] No kidding.

- Okay good.

No, I actually, even though there's no difference

in the speed, alright, let's just sit by the machine.

I always think like in color that it's different.

I just wanna get one little place with this.

Why did you ask it if it was different?

- I don't know what--

- [Photographer] Because when it's black and white,

they can fix all the mistakes.

When it's color, it's gotta be right! (chuckles)

You don't have any mistakes!

- Oh, thank you!

(camera clicks) - Mistakes!

- Mistakes? - Mistakes, I would just--

Do you still eat

at those weird restaurants?

- [Model] Which one?

- I don't know, those vegetarian restaurants?

- [Model] No, Japanese restaurants.

- I can't understand Japanese food.

I mean, I actually eat at those weird vegetarian restaurants

but I remember when I was passing,

I think you were coming back from--

Was it Whole Wheat and Wild Berries?

You ever eat there?

- I did eat there once.

- [Photographer] Chin down a little bit.

I always feel weird when I go to those restaurants alone

because other people who eat alone

are always reading magazines about health things

and prevention and stuff like that.

You know what I mean?

Always thinking, that looks so weird.

How's your book?

Do you put your pictures in it all the time?

- I don't get anything. - Why?

(men mumble and laugh)

- [Model] Well, it's true.

- [Photographer] I can't believe when I see that picture,

where'd I see a picture of you

when your hair was down to here?

- [Model] Oh, it was in that book, The Male Model.

- [Photographer] When was that taken?

- [Model] About 1970.

- You're kidding.

You had long hair in 1970? (whistles)

(laughter)

A lot of times are the girls now.

The game is a whole crop of girls

who really are very young and they have no experience.

And I have a friend who's a photographer.

He's worked for years and he's finally stopped

having to photographing girls

because he can't talk to them.

They're 16 to 17, they have no experience,

they don't know anything.

And they're taught to do certain movements

and their stop movements.

So they like sort of run in front of the camera,

and do stuff and they won't stop and stand still

and there's no thinking process going on

so when you're shooting,

you realize you're not getting something

coming back from them in a sort of, as a relationship.

They're just doing movements or something

that been taught them. - Yeah.

That's just their concentration.

- It's so weird! - There's not

that concentration.

- Why don't they--

I don't know.

- That's whatever you do.

- (laughs) I wanted to do one girl,

Valley Miss something 'cause she wouldn't stand still

and you know, relax.

I mean, it's so weird.

(various traffic noises)

(women speak in French)

- [Photographer] Come closer.

Okay, focus.

(camera clicks) A little more coat.

Oh, you don't care about that, do you?

You don't care

about details, do you? - The gestures

are more important. - Okay, the gestures.

(camera clicks)

Nice.

Great.

(music blares faintly)

On the plain.

I'm quite tight on you, from your feet to your head,

so don't come in and out of the plain too much.

You know, with Apples I'm cutting your foot off

so move it back a bit.

- My feet? - Yeah, just move

your foot back there. - Everything?

- No, no, no, it's alright.

Fine.

Just a little bit.

Yeah, okay. (camera clicks)

Apples, just walk into the shot.

- Okay.

- Yeah, like that.

A little further back, in fact.

Rose.

(women mumble)

- Okay. - I just can't stand

that hat on Apollonia at all. - It doesn't look good.

- I don't like it at all.

- No, it doesn't look good.

(photographer speaks in French)

- [Model] Yeah, I know!

That's what I'm saying. - Right, I don't like

that hat on you.

But this is nice.

I mean, the light's nice.

- The light is fine.

- It's nice. - It's fine.

I think maybe the space should be

like between her and her. - Bigger.

- No. - Oh.

- It's fine.

- [Photographer] But you want doubles

and then they sit like-- - No, together.

- You want it-- - Triple, triple.

Definitely triple. - No, but I'm saying

you want it off, like you want maybe two of them together

and then one apart?

- Yeah, it can be.

They can do things like that.

- [Photographer] Oh, they like it.

- Yeah, I love that!

- [Photographer] Ignore one another.

Like you're in a Bloomingdale's window.

- [Ruth] Yeah, like mannequins.

- [Photographer] Mannequins.

(camera clicks repeatedly)

Okay, Elaine, just be standing there now.

A little more face.

Okay, that's good.

Huh, Rose?

That was good. - Finish?

- [Photographer] Yeah, that's that.

Next, do we have another triple?

- [Rose] Two triples.

- [Photographer] Two triples?

(various traffic sounds)

- Robert Clement?

I have a singing telegram for you.

(people laugh)

(people chatter)

♪ I was dispatched by Mona ♪

♪ Please spare a moment or two ♪

♪ She wanted me to find you here ♪

♪ And sing this message to you ♪

♪ Clement, you are great, no debate, no mistake about it ♪

♪ Clement, you are swell ♪

♪ What the hell, let me yell and shout it ♪

♪ Oh, what a birthday, what an event ♪

♪ You're what I call magnificent ♪

♪ Clement, you are brash like a flash of a thunder shower ♪

♪ Clement, you are hot like a shot of electric power ♪

♪ Had to inform you, just couldn't wait ♪

♪ Oh, Clement ♪

♪ You are great ♪

♪ Happy birthday to you ♪

(people clap loudly) Happy birthday!

My pleasure.

(people chatter) (music plays faintly)

- Oh, yeah.

Absolutely!

Every time!

- You are a master point.

You are an incredible businessman!

(people chatter)

(rock n' roll music plays on radio)

(various traffic noises)

(upbeat music plays on radio)

- [Photographer] Yeah.

You should be a step over this way.

Right there and look towards the light.

Right, okay, that's it.

Good.

(upbeat music plays on radio)

Just take a step over here.

Here this way, okay.

- This way? - No, no.

- This way. - Yeah, enough.

Good, good, good.

(upbeat music plays on radio)

- [Makeup Artist] Give me another bobby pin.

There you go, relax.

Maybe I should be a stylist.

Give me some more big pins!

Danny?

Give me some more big pins!

I got it.

About four.

(people chatter)

(upbeat music plays on radio)

- [Woman] Are you still moving in and out?

I'll get the full length now and get a little closer?

- [Photographer] Yeah, I'm gonna do some full lengths now

and then move in.

(various traffic noises)

- Okay, if you could have a seat.

I'll just talk to you in a sec.

Now this was who?

- Ed Brown. - Ed Brown.

Okay.

Looks nice.

Looks good.

I think he's really catching something subtle here

which hasn't come through on a lot of the pictures.

- Right. - What do you think?

- [Model] I like it.

I like the one he chose.

- [Agent] I think that looks good.

I think that looks real good.

It's very soft, it's very feminine.

You need to remember that the whole reason you're testing,

the whole reason you're going out to work

for one of the photographers is to see

what your limits are.

How far you can go.

We can get a (mumbles), we can get a contact sheet,

it's no good, fine!

But we're liable to come up

with something really interesting.

- [Agent] For example, J. Walter Thompson has 14 floors

of office space, you know, in New York

with probably seven D5 art directors working

in the art department.

Each one has a file 'cause they work with models.

That does not necessarily mean that they have

the C models on appointments.

They're too busy to do that.

But if a photographer they're working with says,

"I would like to use Gary Wells on a job,

"what do you think of him?"

They will go to their file and look at your card

and say, yeah, either yes or no.

Or if it's possible or whatever.

- So each one of the 75 would get one?

- Yeah, absolutely, you see?

So this is not that sudden.

There's a much larger amount of people in New York

than you will ever see and be able to see in person.

How long will it take you to see 4,000 people?

And some are on the West Coast, some are in Canada,

some are in St. Louis, Missouri, you know.

I mean, their stores are all over the place

that use models from New York, you know.

- Do any of these parts go to Europe

or is it just basically US? - Some go to Europe.

- Some go to Europe? - Mm-hm.

- Are you freelancing with commercials?

Are you not signed

in particular with anyone? - I have not signed

with anyone.

- 'Cause what might be a good idea

is to get you at least in the commercial division

because they do do a lot of freelancing with people.

- Okay. - I think it's a good look

for them.

In my honest opinion is, I think the look

is probably more commercial than it is print.

We would probably look for a little more definition

in the face, a little more strength.

I would like Zoli to take a look at it, though.

- Okay. - So that's going

to entail leaving it overnight.

Can you do that? - Fine.

(various traffic noises)

(upbeat music plays on radio)

- What happened to you?

Where'd the girl go that came in here before?

It looks nice, are you happy with it?

I think it looks good.

(upbeat music plays on radio) (camera clicks repeatedly)

Great!

You can go ahead and hold it (mumbles).

(camera clicks repeatedly)

Mark.

Clarissa, just one little hair that's coming right across,

right in front of her face.

That one, just one hair right here.

It just keeps coming down.

(upbeat music plays on radio)

Great, very nice!

Beautiful!

Turn your head this way just a little bit.

Whoa, whoa, come back.

Right there!

(upbeat rock music)

- Models who really are, can wear clothes.

They're so talented because they work so much with it.

You know, then they wear funny things just to

you know, get around and stuff.

Girls, especially, you know, the real beautiful girls

that look so great in clothes that they never wear

those good clothes.

And they're the only ones who look good in them, you know.

And it would be just so terrific.

- I saw one beautiful girl come in

from a grocery or something and she had a

a green

fatigue jumpsuit.

It's just like, wow.

While she was just peelin' off

and then she jumps into a beautiful

silk dress or something and... (snaps)

- There's the dividing line between reality and illusion.

Right there.

Just one of it.

- [Andy] Well, you're the people

that really look so great in clothes.

I mean, you know, I don't know.

Well, it's a lot of work and it's hard.

- It's nice, though and the weekends,

I don't like to shave.

You just like to relax, 'cause all week you are worrying

about your looks. - Right, right.

- Well, I can just let the hair go, whatever.

It's a nice feeling.

- I didn't shoot today because I figured,

"Well, maybe they wanted real."

- Yeah! - You know,

so I didn't shave.

'Cause on the weekends, I do like to feel

like there is a difference.

That I can relax, you know.

So I don't really go through the ritual

of pulling to together. - Right.

- When I ask you a question,

kind of include my question in your answer

so that people understand what you're talking about

'cause your voice is gonna be the only voice on the tape.

- And when you answer the questions,

you can look right into the camera, right here.

- What's your rate now?

- My rate now, depends upon what I'm doing.

Right now, the going rate for

most of the top men is 125 an hour, and a thousand a day.

- [Reporter] Okay.

Are you always conscious of your good looks?

Are you very aware?

It's self-conscious?

- I'm aware of

an inner thing.

I look from

within.

- [Reporter] How do you parents or your family

feel about you modeling?

- Oh, my family's elated.

My father's like my kid brother.

"This is my son!

"That's really my son!"

Nobody believes that I'm his son!

You know and my brothers, "Yeah, that's my brother!

"Yeah, he's on the cover of GQ, man, that's my brother!"

And you know, my grandmother,

aunts, and they all go to church

and all the women in church are saying,

"Oh, I saw your grandson!"

Ba-ba-blah, my family loves it.

- [Reporter] Have you ever posed nude?

- I have not posed nude for any publications.

I

would

probably

pose nude,

yeah.

For an incredible amount of money, of course.

Why not?

I've got nothing to be ashamed of.

I've got a scar over here. - Oh, let's see then!

(laughter)

Yeah, come on, (mumbles) what's goin' on here.

Prove it, buddy, okay?

Speakin' of it,

the shower scene. - Okay, the shower scene.

- Shower scene? - This is the last thing.

- This is the last thing.

This is the climax.

- [Reporter] How many times a day do you shower?

- I shower once a day, sometimes twice a day.

When I'm running around the city all the time,

you can get smelly and sweaty

and I like to get back to my apartment if I can,

to shower again.

- [Reporter] What are your favorite soaps and shampoos?

- I really don't have a favorite as far as soap.

Shampoos, I like to use something,

Vasse, it doesn't have too many chemicals in it.

I like to switch a lot because

it builds up on your scalp.

- [Reporter] Do you think of yourself as a sexual object?

- Do I think of myself as a sexual object?

Well,

no, not really.

When you walk down the street and there are times

where people stare at you and

God knows what they're thinking.

But as a model, you do have and idea

that people are looking at you and watching you.

- [Reporter] Have you ever posed nude?

And would you for a lot of money?

- No, I've never posed nude before.

If it's done tastefully, I guess I would.

This is my first shower scene. (chuckles)

Who knows what this will lead to! (laughs)

- [Reporter] Are you always conscious

of people looking at you and watching you?

- Sometimes I'm conscious of people looking at me.

Yet, I don't know what you actually project

what they're lookin' at

but you just see people staring at you in the subway

and in stores and

you've gotta say it is a nice feeling.

And you can be proud about it.

There's nothing wrong with it.

- [Reporter] Do you play a lot of sports?

- Yeah, I like to play basketball,

(mumbles) skier, snow skier and water skier.

Okay, and tennis.

- Okay, kill the water. - Okay, that's good.

That's great. - Kill the water,

and now just dry off.

Throw the man a towel, huh? - Here's a towel,

here you go. - Hey, hey, buddy!

(laughter)

Okay, we are on a kinda long shot.

Anything else?

We're gonna fog out here!

(various traffic noises)

- [Photographer] Good, okay, relax!

Alright, let's do it!

(camera clicks) Good, that's great!

Now, Scott, don't forget to go like this!

Good!

Good!

(laughter)

Good, that was great,

that was great! - Good, Anika,

I like what you do with your map!

Good!

Good, Belinda!

Good!

That's good.

(various traffic noises)

- [Photographer] Okay, here we go.

(camera clicks) That's it.

Okay.

Let's work in place.

That's it.

Rob, that direction.

Fine.

Okay.

Okay, left hand out of your pocket, Randolph.

That's it, give it...

That's it.

Okay.

That direction.

Yes.

Okay.

Fine.

Okay.

Good.

Bring your arm up just a bit more, yes.

Fine.

Fine.

(camera clicks) Good.

Okay, eyes.

That's it, keep it strong now.

Good, good.

Do I have 400 on the background?

Can you check that, please?

Okay, that'll be fine then.

Good.

Okay.

Overlook your shoulder.

That's it.

Okay.

(camera clicks repeatedly)

That's it, couple more we go.

Okay, lean your side to the right.

(camera clicks repeatedly)

- So, hi. (laughter)

- You got it. - How are you?

- [Woman] You didn't catch that?

- [Photographer] Fine, work together just a bit more.

That's it.

Good.

Okay.

Maybe in the pocket just for the last few.

Okay!

Good.

Keep it

together.

- The close-up's real nice.

(camera clicks repeatedly)

- [Photographer] Good, right there, that's it.

Okay. - You can play

in the big leagues, kid!

- [Photographer] That's it, good.

(various traffic noises)

(siren wails)

- [Director] Quiet, please!

And

action!

(upbeat music plays loudly)

Darling.

Wait a minute, wait a minute.

Don't rehearse unless I get my eye in the camera.

There's no s-- (model speaks faintly)

I know, but I wanna see it, alright?

Go ahead, go ahead.

Whoa, come back, darling, go ahead!

No, you're not coming that slowly, darling.

You gotta be coming faster than that.

- Right here? - Yeah!

That's right!

Darling, just make sure that when you stop,

you gotta (mumbles) a nice thing here, that's all.

Stop and then go!

Now, okay, let's do it!

Ready, just quiet, please.

Ready, doll?

And

action.

- One, two, three, four. - No--

Sweetheart, you gotta make it

a little longer. - Okay!

- Stand in front of it.

When you get down here, I'm only on your legs.

So you gotta take a little positioning here like,

you know, something pretty, here.

- Okay. - This is it.

And then just pause there and then move off

but let's get a position here that looks nice, alright?

(people chatter)

Darling, get a position here, shh!

Come on down and get a position.

Hold it.

Now, I'd like to be, when she's there,

I'd like to be about...

Darling, let's get a position on your legs.

It looks pretty, you know.

That's it, sweetie.

You ready, dear?

And

action!

- One,

two,

three,

four,

out. - Beautiful, nice!

Good!

Alright, sweetheart, the only thing wrong

with that shot that we (mumbles) was,

as you come down here,

you're looking around as you go, you know?

Then you come here and you just stop for a second

and then go, you know,

it should look just a very slight pause.

In other words, don't walk down the steps,

kind of trip down it, you know?

And then just stop.

That was good, though. (model speaks faintly)

Yeah, yeah.

Quiet, please.

Do it, now, do it for me, darling.

Ready?

And

action!

(upbeat music plays loudly)

Darling, that was too posy there.

You took a pose, I don't really want you to do that.

You know what I mean?

(model speaks faintly) Alright, sweetheart, okay.

Okay.

Darling, what were you doing with that case?

It was getting from hand to hand.

It shouldn't.

Leave it where it is.

Five-six, Bernie. - You got it.

And I like to have that track up.

- Yes, sir. - Michael.

You ready, doll?

Okay, standby.

Turn over.

And

action!

(upbeat music plays loudly)

No, just lift your--

I don't know or care which one, darling.

I just wanna make it feel like it's an action,

not that it's a pose, you know what I mean?

Just try the whole thing again for me.

Darling, why did you move that case around? Don't.

You started to switch hands with it.

Don't move it around, alright?

Standby, please.

And turn over.

And action!

(upbeat music plays loudly)

Good!

Terrific, honey, nice!

The pause here was very good!

Okay, once again, please!

We gotta stop? - We have to stop

for about 10 minutes until the priests get in here

and get in the house, okay.

I don't know why but they asked us to a new will.

Sorry.

- What are we doing today?

- Well, today we're showing the clothes and the whole person

and the legs. - The look.

I see. - The look, right.

- Of the different women.

- Yes. - I see.

- And then on Tuesday we're just doing

this peacock effect where the legs come in...

- Yeah, that's more or less like a still life.

Well, although it will be moving,

but it's like still life things.

We'd still be putting in--

- Well, it won't be a still,

it's a moving shot. - Yeah.

- Yeah. - Of course.

It's all moving-- - And every leg

you see will be yours.

10 legs on the screen.

I hope I have insured them! (laughs)

- [Director] Look free for me.

The sun is going.

Let me shoot one, let me just shoot one.

While we mark, give me your count.

Ready, forget the music, alright?

Ready, gang?

Standby, please.

Here we go, turn over.

Make it good, lots of light, buddy, and

action!

- [Woman] One,

two,

three,

four.

- [Director] Jimmy, I'm off her head!

I go down to her legs.

I'm not interested in her head after that point!

Wait, wait a minute, please!

Darling, go back again, shh!

- [Woman] Unless, there's a way the light,

that a lighting that you think is attractive

and there's some way to hit those legs.

I don't know, that's the only other alternative

I can think of.

'Cause it's not like I'm fond of this lighting,

I just wanna show the product.

- The most I can do to get,

to get dots out of her legs is to put her in direct sun.

- Can you do something to this lighting

that you're comfortable with for them?

- It's hard shadows of the sun and everything

are gonna defeat, in a sense, the beauty look

to get some dots on a leg, you know?

You can do that, I mean, I can do it, no problem.

But I think it's a bit mad.

- Well.

Can you cover it first this way?

I would love to sell the prettiest look.

- No, I wanna do it right once.

I mean, I gotta keep moving today.

- Well then, I think we'd better show the pantyhose.

- Okay.

Standby, please!

And turn over, and

action!

- [Woman] And one,

two,

three,

four,

five,

six.

- [Director] Very nice!

Once again, please! - Yeah, right.

- So you're laughing to each other like this

and then you kinda just get into the position and hold it,

you know what I mean?

You got three or four seconds to get into that position.

So after action, you do a little thing, a laugh,

then you both move into that position, okay?

Thank you.

Yeah, well.

Okay, light A.

Not go back out to my end position.

Okay, terrific.

Standby, please.

(whistles)

Once again.

Okay, camera's rolling.

And action!

(upbeat music plays loudly)

Nice!

(various traffic noises)

Yeah, I'm taking this.

As she jumps up on the curb,

just as you see it, the guy comes into frame.

Then we're gonna cut to her head,

doing this and this and then she's gonna come towards me,

and then we see his head goin', "God, good lookin' girl."

He'll do this, Jerry.

He'll go, he'll do this.

(Jerry mumbles) Well, yes,

because his feet come into the frame.

And then we'll cut to a head shot,

where he's here like this,

she goes by him and he just looks over his shoulder

like, mm, and that's it.

When she does this, she's gonna bump.

Then they go this way and that way

then he's gonna turn her around.

I want a dolly on that point.

Stay with her.

So I want you to come right towards the camera

and just ease off.

And

action!

- [Woman] And one,

two,

three,

four,

five,

six,

seven,

eight.

- I want you to run into it.

You wouldn't bump into her if you were walking.

The reason you bump into her

is because you're lookin' at your watch

and you're runnin', oh shit!

As a matter of fact, you should be lookin' at your watch,

and it's like that, "Oh, Jesus, sorry!"

But if you walk into it, you wouldn't bump into her.

You know!

Okay, so run into her, put your hand up

like you're lookin' at your watch,

check, "Oh, shit, sorry!"

Okay?

Once again, please!

And

action!

- [Woman] And one,

two,

three,

four,

five,

six,

seven,

eight.

(car horn beeps)

- [Director] I gotta tell ya, in the camera,

it looks like a guy, damn near bumped into a girl,

they did a little thing,

he turned her around and off she went, which is good.

- I like the little dance where he turns her around

and sends her off. - That was excellent.

What you're doin' is walking and I'd like to have a feel of,

"Oh!"

You know what I mean, a little more of a run.

- First one in which eight took it

to a beautiful cut point. - I know,

I know. - Yeah.

- You're doin' perfect.

Just do me favor and a set--

You got a watch on? - No.

- Well, pretend you do. - Okay.

- And run in, I mean, you can watch her,

but if you have your arm up and I mean, it's like...

And then that little step thing and do the turn.

That was very nice, what you did, okay?

Let's go!

Now, look at him then go back the other way,

over, like that, then you just smile like, "Oh, God!"

You know like, "Oh, come on!"

Then turn her,

and let her go, and then I just want you

to keep a look on her like,

"Oh, boy." - Do you want me

looking back at him? - No.

Just go your own way.

(people chatter)

Let's go back, I'll tell you what,

we'll make it easy if we leave.

Go back to this (mumbles).

Rudy!

Rudy, you better bring that around in front of you

because I gotta move them back some.

(people chatter)

Here we go, and

action!

(upbeat music plays faintly)

Terrific!

Donna, you bump into him, the shocked look is terrific

and then this way, this way, then a kind of,

"Oh, come on," with a smile.

You know, it's like, "Oh, come on!"

- It's a little silly. - You know, with a big smile.

And you're smiling, you know?

And then you do your turn and walk, okay,

and as you walk, its kinda nice.

Once again, please!

Ready, and action!

You should have been over soon.

Gonna make your move soon.

Sweetheart, after you bump and turn,

pause, I told you, pause, stop there.

A little smile, kind of like, "Oh, boy!"

And then take your time.

You just go slow, like down the line, okay?

Action!

Good!

Okay, very nice!

(people chatter)

(various traffic noises)

- Well, it's not illusion, it's a matte.

Actually, we take the one leg and we matte it over

in the blue background over the second leg

and on the third leg and the fourth leg

all of that happens in four seconds

so we're going to check that first before we get started

because we make the sandwich.

Once the sandwich is made, we can't unmake it.

So we don't make one leg at a time, we layer it.

We put the first leg down and the second leg

on top of the first leg and the third leg

on top of the other two.

So we have to be very careful.

Our blueprint is exactly only one.

- Okay. - Okay?

Well, that's your problem, no?

- (laughs) Well, we share it!

- Okay, we share it!

(laughs)

- No pressure, we'll just do it till it's right.

If we don't do one we like, we'll just do it again.

And that since it's on tape, we can play it back and--

- And see. - See it,

and if we're happy with it, we go on,

and if not, we'll just do it again.

- Okay. - So,

don't get concerned with yourself or the mechanics

because it gets very mechanical,

but don't let that concern you.

- No, I couldn't because I don't understand.

(laughter) - Okay, alright!

- So, we'll just do it until you feel

that you have it. - Very good.

So let's now sketch on (mumbles) one.

Give me an in-between position over one.

There you go, quickly draw that.

Okay, next position.

And lower the leg in a little more.

Yeah, you may have to go to this bit in that sheet.

We'll get you an in-between height.

You may have to come up just a touch, just a touch.

And extend it out into the frame a little more.

Higher.

Can I have another box?

Something around that round there?

A little higher now, just a touch with the toe.

A little more out, let me help you.

A little more like about there, I'd say, right, Mary?

- Mm-hm, mm-hm. - Okay, draw it quickly.

Okay, next one would be about here.

Go ahead, draw it quickly.

The next one would be about here.

The next one would be about here, are you still okay?

Apples? - Oh, yes, I'm fine.

Thank you. - Okay, good, relax.

There we go, let's count.

One, no, no start from here.

No, down here, that's one,

two, three, four, five, six,

seven, eight. - Alright.

- Good. (laughter)

- [Woman] Not bad! (laughs)

- [Director] Okay, that's the way we go.

We go to the eight-count track.

- [Woman] It's really weird dressing someone else.

- [Apples] I know, isn't it? (laughs)

- [Director] Can I help?

- [Woman] This already has a snag.

Will you need these? - No.

Very comfortable (mumbles).

Can I hold your leg,

will that be helping? - Yeah.

- [Apples] I can do it now, I think.

- Yeah? - Yeah.

- Got it?

How's it look? Fairly straight?

- [Apples] Mm-hm.

- [Woman] Maybe here just a little bit.

- And track!

Five,

four,

three,

two,

one, and!

One, two, three, four, five, six, seven, eight!

You hit the mark and you must keep stepping

for it, four seconds. - Okay.

- [Crew Member] Ready?

Five,

four,

three,

two,

one.

And one, two, three, four, five, six, seven, eight!

Good, good!

Cut!

I like the last one, check it, please!

(people chatter)

Five,

four,

three,

two,

one.

One, two, three, four, five, six, seven, eight!

Well, I'm not gonna worry about that for now.

Just let me lock that off for a second and take a look.

- You know what the problem is.

- The point of the spirit.

(people chatter)

- [Crew Member] Take 26, cinnamon.

(people chatter simultaneously)

- [Director] Let's set it up for a set the composite.

You just made up for a playback

and we will record this next one.

Is everybody ready?

- Yay!

- [Director] Thank you!

- [Crew Member] Five,

four,

three,

two,

one.

One, two, three, four, five, six, seven, eight!

- You're marvelous, you know that?

Cut.

You're fantastic, I wanna go look at that.

Thank you, but that looked terrific to me.

Let me go check inside.

- Sound check, please.

Hal is on his way in, so check this out.

- [Director] Did you put the picture on the line?

- [Crew Member] Did you give us a picture of the line, sir?

Take 31, teal.

Roll it.

- [Director] I want to get a position.

Alright, put your leg in.

Put your leg in, okay?

Now, lower it in the frame more.

Lower, lower, lower.

More leg.

More leg and not as far out, in closer.

Yeah, and then move down a little bit.

Okay, zoom out, tip up.

Tip up, tip up, tip up, there you go!

(man mumbles faintly) Alright, we'll pan off.

Okay now, toe down.

And towards you a little bit.

That's looks like a perfect mark to me, right there!

That's much better.

That's it.

Okay? - Okay,

got it. - Keep rolling.

- [Crew Member] 49, cinnamon.

Five,

four,

three,

two,

one.

(man continues to count) - Okay, put your leg in lower.

Tip up, tip up, tip up, tip up, tip up on the lens.

No, no, leave your leg alone.

Point your toe down.

Okay, a little closer in.

Keep rolling, give me another playback.

- [Crew Member] This is take 55, wine.

- [Crew Member] Five,

four,

three,

two,

one.

(crew member continues to count)

- [Director] See, that's where it has to go.

There was a little hesitation.

There was a little hesitation in getting it.

Kick to the mark, you'll either be on it or off it.

If you're on it, we'll do it.

There was a little bit, when you're kinda...

Just smooth kick.

- [Crew Member] Okay, keep it rolling,

this is take 57, wine.

- [Crew Member] Five,

four,

three,

two,

one.

One, two, three, four, five, six, seven, eight!

- [Director] Okay, terrific.

(people chatter) Yes, of course!

But we're doing it with your body

and you're doing it well!

Terrific because this some of the most difficult--

People do not understand that within the proscenium

of a 30-second commercial or five seconds,

or as we're making, four-seconds,

the discipline becomes tenths of seconds.

You know, in the theater, you can do a scene

or in motion pictures and you have several minutes

to span out your play in the use of things.

Here, your concentration is on the tenths of seconds.

And the discipline becomes that much more extraordinary.

It's probably the most difficult art form there is

'cause your time is compressing,

which means that the pressure condenses.

We set?

What's happened?

(people mumble)

Put your leg out, honey.

That's terrific, that's a marvelous mark.

That just, terrific.

Five, okay, good.

- [Apples] Aim it towards you a little?

- Instead of this way... - Diagonal?

- [Director] Yes, but this way, not that way.

- This way, like that? - That would tend

to mask the scene a little bit toward the lens, yes.

- Okay. - Thank you.

- 71, black.

Do we have speed?

- [Crew Member] Five,

four,

three,

two,

one.

One, two, three, four, five, six, seven, eight!

Okay, very good.

Play it back.

- [Director] I wanna look at the last one.

- Hey, Mike.

Look at the last one.

Stop tape and let's look at the last one.

- [Director] I'll go inside and see

what they're looking at. - He's on his way in to you.

(loud beeping noises)

♪ Evan-Picone, I love you right down to my toes ♪

♪ Because to go with my beautiful clothes ♪

♪ Evan-Picone creates the well dressed leg ♪

- [Announcer] Evan-Picone, they know fashion, they know me.

Evan-Picone leg fashions come in colors and patterns

so sheer, so subtle, so flattering,

they give everything I wear an exciting new look!

♪ Evan-Picone creates the well dressed leg ♪

(various traffic noises)

- Chuck, take the backlights out!

I also have a light end just on the side there!

My right side!

Okay, let's shoot it then, it's good.

Okay, one,

two.

I need it shouting, please!

Three! (models shout)

One, two, three! (models shout)

Good, one, two, three! (models shout)

One, two, three! (models shout)

One, two, three! (models shout)

One, two, three! (models shout)

(people cheering)

- [Protest Leader] America, you're guilty!

You can't hide!

The black nation charges genocide!

- [Protesters] America you're guilty!

You can't hide!

The black nation charges genocide!

- [Protest Leader] America, you're guilty!

You can't hide!

The black nation charges genocide!

(various traffic noises)

(upbeat music blares on radio)

(various traffic noises)

- [Agent] Yeah.

I'll call you back, she's gonna get it.

Are they gonna send us a release?

(people chatter)

- [Agent] I guess it's good.

- It's a foundation. - I don't wanna take

anything out of it, because you don't have that much

and they were all good.

So we'll just leave it this way for now

until we get more things from you.

- Heidi, can you jump on the trampoline?

Can you use a trampoline without killing yourself?

(phone rings)

- David, on this gala one,

do you know if Marcy Casterline went on it?

- [Agent] So you'll pull first thing in the morning,

eight (mumbles) to 8:30,

then before one o'clock.

- Before...

- [Agent] Again, around 2:30.

- 2:30...

- [Agent] And check-in time is between five and 5:30.

- What are we gonna go do about this?

They still haven't given us enough money, have they?

- Minus this mark? - Yes.

- They're paying everything certified check.

COD on the spot,

tomorrow to the women's division, I suggest.

- They wanted it in this afternoon and I said no.

We'll take a turn due for tomorrow.

- They're on COD.

- So all we wanna know are the people you are testing with,

worked with,

no, and this check mark will mean callback.

And then leave the rest blank and we'll (mumbles).

(people chatter)

- Look, don't let that bother you

because, really, it's just to kind of get an indicator.

And you know, you can't be all things to everybody.

There are certain people that are gonna wanna test

and work with you because of your look

and there are certain people who are not

because of your look, so don't worry about it.

You're really just getting out to see

what the people have to say and we're trying

to get a reading on the kinds of people

that are gonna turn on to your look.

(laughter) - Ugh, my God,

they're fabulous.

- Look at this!

That's beautiful!

Nickey, this is fantastic, I love this!

I think you should get a print of that, definitely.

Look at this, that's incredible!

- It's movie star (mumbles). - Oh, right.

Definitely. - Isn't that fantastic?

- Arthur Gordon did that? - Uh-huh.

- [Woman] Who did these?

- Arthur. - These are very pretty.

- [Nickey] That one?

Oh, it was a coat.

- [Woman] This is fantastic.

- [Agent] You should have it done in a smaller,

like, center print, as opposed to a large one.

So that that dark color is coming right out to you.

- [Woman] Oh, here she is, Isadora, look at this.

- [Agent] There is Isadora.

- [Woman] Look at Isadora here.

- Oh, right, yes, definitely!

- [Woman] Okay, I'm gonna stick this back in here.

- [Nickey] Okay.

- [Woman] Okay?

Looks good!

Do you need anymore cards?

- [Nickey] Well, I got that handful yesterday.

I'll come and get today, actually.

- [Woman] Alright, you know what we can do,

we can pull (mumbles) and see if you can come later.

- I had that other test scheduled so I had (mumbles)

and now the other one's canceled

so if he wants me to come later, I can stay an hour later,

an hour or two now or something.

- It says here that they've moved this whole film crew in

and they're filming in this town,

you know, after this thing has happened.

So what you're doing, all these thoughts

you have thought before,

alright, so they've been in here,

you've seen things, you've observed them,

you've recorded them,

and now you're going to play them back.

You are verbalizing what you thought, okay?

And one thing that you say kind of ticks off

something else until you build on it.

Okay, and you start by saying, "You're so full of shit.

"I mean, you're really, this is just shit!"

That sets the mood for you.

So kind of set the mood

and then you become so defensive, you say,

"Not only is it full of shit, it's just a publicity stunt!

"It's just an attempt to get our name on the evening news!"

And that's all it is.

It's all contrived, it's all a bunch of bull.

And so you're really kind of angry about it.

Because this has happened in your little, peaceful town

and it's destroyed that kind of passive, quiet,

pleasant town that you're a part of.

'Cause you are

a reflection of that town.

So now think about that,

just do right down to here.

Stop right here.

Read just down to there.

You know, it's like after a flood or after a fire,

and it's bad enough, that the thing itself is bad enough,

the event itself is bad enough,

but then the media comes rolling in,

and then suddenly these people are suffering

and they're on television?

And they're in the newspaper and they're in magazines

and they're becoming heroes, they're becoming folk heroes

because they've suffered.

And that really makes you mad, it really pisses you off.

And you're setting that to this.

Okay?

Just try, and do to me like I'm the man

from the television camera. - Alright.

- Just take a little bit at a time.

You don't have to do it all.

- It's so full of shit!

This whole thing is just a publicity stunt!

I mean, everybody in this town is just so full of crap!

They just love this flood stuff

because it's the only thing that ever happens in this dump.

It's so boring!

They just wait for floods!

I mean, look at them!

- Alright, now listen.

Tragedy and comedy are very close.

They're almost the same thing.

It's an exaggeration, it's an extension

of the same basic element.

So at times you're almost laughing at it.

It's a nervous laughter.

(chuckles) "Look at them!

(chuckles) "They're waiting for something!"

Do you know what I mean, that nervous laughter?

Sometimes you go to a horror movie and people laugh?

They laugh to kind of relieve the tension that's inside.

Well, almost comment on the situation

as you're talking about it and so put a little humor in it.

It's not ha-ha humor, it's not Charlie Chaplin time,

it's not the Keystone Cops,

it is humor that comes out of tragedy,

and observing tragedy so put a little of that in.

Gives you another vocal quality

and it gives a different dimension to the character.

Try that, okay?

Just when it feels natural for you

'cause if it doesn't feel natural, it won't work.

- I don't feel natural with anything!

- (laughs) No, of course you do!

'Course you do!

'Cause, see, this could happen to you.

If you were there, God forbid. (chuckles)

- And she's talking about this manager

being kind of hypocritical... - Yeah, yeah.

And you're with it, I mean,

you're not valedictorian of your graduating class

but you know, you're observant.

That's what it is, she's worldly wise.

She knows, she's no dummy.

She didn't tell the world about it.

- So full of shit.

This whole thing is just a publicity stunt!

I mean, everybody in this whole town is so full of crap!

They just love this flood stuff

because it's the only thing that ever happens in this dump!

It's so boring!

They wait for floods.

I mean, look at them!

And you know why this big hero here made

this French proverb?

Commitment.

My ass!

It's because his meat freezer went off...

It's because now that the flood the meat freezer went off

and the burger meat's started to rot!

- See what you're saying?

It's the only thing that ever happens.

It takes a flood, of all things, a flood.

You know, something big!

See some (mumbles) presents A Flood!

(makes fanfare noise) And down with Burger King!

So that's what you're doing!

You're making a joke out of a disaster!

Because it takes that for something to happen

in this boring town.

Alright, good, but you know what you're doin'?

You're starting to comment on what you're saying.

Commitment, my ass!

It's because this happened!

You know, you are commenting.

You're making value judgements right there.

And that's what she needs to do.

She would do that, "Commitment (scoffs) it's not that!

"It's because this happened," and blah-blah-blah.

So do that, more commenting on what you're saying.

That's good, you did it like three times.

So now other lines, I don't remember what they were,

but you're doing it.

You're commenting on what you're saying.

You're making a value judgment right there.

And that's what it's about!

Do that again, just that part, I'll stop you.

- I would say of the new people that walk

into this agency for an interview,

I would probably say the percentage,

the chance of them being accepted is

somewhere between two and 5% of the people that walk in

will accomplish that.

And out of that two and 5%,

and it's hard to really nail down a specific number,

I would say that a good half will not last

the first couple of months.

- Do you think models are overpaid for their work?

- I don't think models are overpaid for their work.

Male models, as I've said,

some have a 20-year span.

Female models have a much shorter span

to make their lifetime's earnings in.

And I don't think they're overpaid.

They work very hard and in order to be on top

of the profession nowadays, it is very competitive,

to stay there is very competitive

and you don't have, like other people,

45 years to

make it and retire with, et cetera.

You're self-employed and you have to

sort of do it in a much shorter time span

than most other people.

- What do you think about the models generally

have a kind of either kinky or stupid

or kind of a bad rap?

They've gotten a bad rap.

And as an agency,

how do you feel about that?

- Models generally are thought of, I think,

by the public,

have a bad somewhat, I believe, have a bad public image.

They're thought of either as stupid,

or

not too

productive or lazy

or

kinky or

some bad terms.

And I don't think that that is really correct.

If you take a hundred lawyers, I think you're going

to be find some stupid lawyers,

some kinky lawyers, some lazy and some unproductive ones,

and

or any other field.

There are some models that are extremely intelligent,

very bright, are better traveled at the age of 21,

speak more languages at that age than people of 50,

have a wider,

bigger imaginations,

bigger perceptions of the world at large,

are more charming and can be more dependable

at a young age.

I'm not saying they're all that way

but I'm saying that the educational process in modeling

for a young person does allow

for a much

diverse

world view and wider world view

than if you're sitting in an office all day.

They travel, all the continents,

they learn to speak languages,

they meet many more people in one day

than most people will meet in

a week or two

and

it will rub off on them.

(various traffic noises)

(people chatter)

("Working Day and Night" by Michael Jackson)

(hair dryer blows faintly)

(people chatter)

(women cheer loudly) (laughter)

(laughter)

- Ow!

(shouts) Don't shake my fringe twist, Yao.

(laughter)

(people chatter) (women laugh loudly)

("Don't Stop 'Til You Get Enough" by Michael Jackson)

(women cheer loudly)

- [Model] Shake it, honey!

- Yao, look, look, look!

(women squeal and laugh)

- [Oscar] Alright, take it off!

(women cheer) (people chatter)

- [Model] Oscar, you gotta take him for your next show!

(elegant orchestral music) (people chatter)

(cameras click repeatedly)

("I Got Rhythm")

(audience chatters)

(audience claps)

(audience cheers)

(various traffic noises)

(seagulls cry) (helicopter thrums)