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Let me just take...

Zoli... yes.

Oh, Renauld! How are you doing, honey?

Well, I think I'm pretty good.

Pretty good. How is everything in St Louis?

- Now see this? - 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 Bloomingdales.

We are submitting you for another movie, if you're interested that you'll get

you're going up on on Monday to meet the director and writer who is the same man

Jonathan Kaufer, and the English producer who's coming in from London on Monday.

She's being very silly.

Yeah, I mean, you know, you are her husband.

I mean, you're calling to me that I should do something, you know?

No, no, no, I mean, you know, that's your job.

Monday you have a fitting 9:30 to 10. Yves Saint Laurent

and then you have from 4:00 on the Merv Griffin Show.

And they just called with your wardrobe, which is all shoes and boots.

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

And then 7 to 9 it's Yves Saint Laurent's show.

I've got 180 models,

you know, if I had to chase each one of them, I mean, I'd go crazy.

You know, around the globe.

Okay.

Jimmy Star, the role for Universal Studio...

one hour pilot for ABC. 22, tall and lean.

What about Philip for that?

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?

Oh, you know.

That's impossible, the girl is gonna die!

No, forget O'Shea, does not jump.

They have to be dark. I mean dark hair.

- Rachel Ward, does she jump? - What about...

Valerie Cage is in Europe.

Valerie Cage was perfect. This is Revlon. Print, something or other.

How about Helga? Does Helga ride?

I think she rides, but does she jump?

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

Do you have any Orientals?

- Yes. - Thanks a lot. Bye bye.

Well, with this deal, they may see them on, you know, some other day.

- Are you with any agency now? - No, not as of yet.

I just got back from some extensive traveling, and I'm interested to get

started on it as soon as possible.

- How old are you? - 23.

- What's your height? - 6'1".

- And your weight? - 170.

- 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 want to pursue it with the major agencies,

you need to put a little-- A better portfolio.

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, casual, informal. - Absolutely.

A lot of smiles, a lot of energy.

Take a look at 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.

Right.

Regardless of the clothing they're wearing, even sometimes formal shots.

- And that's really what you're after. - Okay. So that's it.

Alright, what I would suggest is

work a little bit with some New York photographers,

you can call 'em, Madison has a handbook lists

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, because I really

can't make much of a judgment from this.

Right. What would you like to see me concentrate on?

Okay, you need to do some head shots, which means close up.

You need to do some active energy kind of things like this.

Yeah, yeah.

- You see, like this. Okay? - Okay.

And casual, outdoor, sweaters, that kind of thing.

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

- Right. - Okay?

- Alright, let me give you these back. - Thanks.

And 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.

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.

- Six and a half? - Yeah.

That's a problem, your height.

It's too short for what we do.

- That's it right there. - That's it.

At 5'6" and a half,

you're gonna have a very hard time in New York.

Any agency you call up, 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 won't use you.

You won't fit the clothes. You won't be tall enough.

When you stand next to the other models, you're gonna look too short.

Things like that.

It's a problem. It'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.

It is not as important as in fashion.

- Okay. - Alright?

- Thank you very much. - Thanks.

The last time I was here, you told me to get a harder look.

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

I should be a little more punky.

A little bit more... The book was...

Okay, if I remember right the book

was kind of a little dull.

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? - 112.

Yes...

Right, Fred. How's he doing?

- He's in school. - Oh he's back...

I know he's been back for a few jobs, but, I haven't spoken to him in a few months.

Really?

- Looks good. - Yeah.

- Looks good, I love it. - Good.

- Can I say something about that? - Sure.

The guy I was working with said we're gonna shoot black and white

so pour on the makeup. So I poured on the makeup.

And then he shot color.

- 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, black leather jacket and the whole bit.

Yeah, what he's done with the filters.

It looks good. It looks good, looks good.

Took two months to get that all together. He did--

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? - I'll be 20 in December.

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've got some good action shots. I think we've got possibilities.

- I'm gonna have a heart attack. - '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 11:00. Okay?

Is this...

Oh, God, that's great!

Holy damn, we got it.

Oh, boy.

There you go.

Now watch that--

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

That's good Romeo.

That's... No, I want you to tip it, yes.

Watch your sleeve there. Watch your pocket.

Pull that arm 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.

Move that gold card around a little bit there.

Get a little higher up around the eye there.

They'll tell you. Oh, that's real nice.

Alright.

Okay.

Lean forward a little bit. A little more, a little more.

Now straight back out again.

Okay, let's get your...

Oh, oh, God, he's doing the right thing.

A real man.

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.

Beautiful. Look in the direction of your face.

I'm out.

That's really nice. Flavor! Romeo! Remember that.

Okay, if you use that,

that way, there.

Okay give me that. Really nice.

Macho.

Elegant.

Okay, alright.

Let me look through and see if I can get...

It's a moment, I want it, that's a very typical masculine thing.

Just to be adjusting and don't pay-- Yeah.

There!

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

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

Oh, God. That's great.

There.

Got it. Romeo, eyes to me.

There it is. Alright. Okay, sweetheart.

That's the shot, Romeo, you're knocking it out.

Now wait.

Bring it up closer to your face. Let's cheat all the way.

Love to cheat.

Oh la la, alright.

That's it.

I admit that's nice.

Okay, now I'm cropped real tight.

All I get is a cuff link and your face. No hand.

Oh, God, it looks great.

Oh shit...

That's it. Look ahead like that.

I got it.

That's beautiful, Romeo.

Just beautiful.

Now eyes to me. Lower them.

There, there it is.

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, because that's perfect. Don't move it.

Damn it! We got it.

That's a beautiful shot. Eyes over here.

My hand.

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 with this light...

Good morning, how are you?

Great!

Are you with an agency in New Jersey, or doing anything locally?

I was with an agency in New Jersey and a few little ones in the city.

So, I did some catalog work with the ones in the city

and, have been testing a lot the last couple of months.

- In New York? - Yeah, mostly.

There are some things working here.

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

- How tall are you? - 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?

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 doing.

Try and do them a little more-- Like this.

You know, a lot of smiles.

I don't know if 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 going to 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, it is soft.

The in between there.

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.

- Good luck to you. Bye. - Bye.

- Nicole, where are you from? - I'm from Amsterdam.

I worked there as a model in Germany, Paris, Italy.

Everywhere.

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

I had braces for seven months and I took off, they got out end of April,

so I have not much pictures.

But everything is new from the last two months.

Oh, fabulous.

- She's going to nurse... - when it was going to be bad.

- How old are you? - I'm 18.

I'm going to be a nursing mother.

- Yes. - Yes.

Are you going to be in the United States?

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

- Okay. When will you know? - I know next year in January.

Now I'm busy with a photo book here in New York.

And after that, I go to Prêt-à-Porter in Paris

and stay there for October, November,

- December I take holiday. - Okay, so you'll be back in New York.

- About... - About January,

- and you'll be ready to work again. - Of course.

If I have an opportunity...

- Your book is fabulous. - You mean you're serious?

Oh, wait, I have to pull this out.

I have two doubles here...

- I'm not ordering anything... - How about...

- Fabulous. - That's great.

- Yeah, that's... - Fabulous.

Okay, Nicole, can you leave your book with me and pick it up tomorrow?

Yes? Oh, fine. Do you want to leave those here?

Yes.

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 reuse of that ad.

The point is, you can't 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'll hold it in.

We're gonna-- I mean, we have to turn over a new leaf.

Seriously, if we're going to really consider this a serious career.

You just can't afford to do this. Okay?

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

you're moving into Altman's, you're moving into various clients,

they're not gonna put up with it. They'll book you once,

and the second time, 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, you know

I'm not using-- I'm just using it as a hypothetical. Okay.

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 going to use two girls. The other is all American apple pie.

Blond.

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

The problem is none of them are available.

Maybe tomorrow.

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.

They would do it.

Sully?

Sully!

Waiting for the bus?

- Yeah, I am, you? - Going my way?

Well, where are you going?

Where are you going?

- I'm going to work uptown. - Oh, uptown, so am I.

Really?

- Where? - 62nd Street.

- I'm going to 58th... and Park. - It's close.

Right.

Alright. That's--

The guy from Days of Heaven, you know?

- George Segal are you talking about? - No, no.

The actor from Bonnie and Clyde, Days of Heaven.

Oh, Warren Beatty.

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

That dimple just blows me away every time.

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.

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, you know,

something like, are you waiting for a bus?

Which is obviously what he's doing.

So the roles have changed now?

Only for this. Okay.

He got very lucky. He just used his Brut this morning.

I mean, I don't want you to go.

I don't want any of that. Okay? So...

- Okay. - You know what I mean?

I want a shy look.

I want a feeling of a lot of people around, you know?

How do you speak to somebody? You know, that feeling.

- Do I keep looking at her or... - No, don't look at her.

Play it shy. Every now and again, you should--

Your eyes should come back to her. But then it's kind of like, you know.

Aw shucks... You know, what is a guy going to 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.

Come here.

How are you today?

You waiting for the bus?

- Yeah. - Looking good today.

What do you say about having a cup of coffee while you wait for the bus?

- Sure. - Do you mind?

- No. Alright. - I'd like to get to know you.

- Okay. - Yeah.

I hate it!

- It was good! - I like it the other way around better.

You've been spoiled!

I think so. Yeah, probably.

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? You should make the approach a little more,

like, you walk up to him and you kind of...

"Oh, hi." You know what I mean? This kind of thing.

Rather than...

Right. It's much more,

there are people around, and you got to play it a little cooler.

You know what I mean? Okay?

- So it's not so obvious. - Yeah.

Mac, do me a favor.

Think young executive rather than guy standing on a street corner.

Alright.

Yeah. Okay.

Yeah. Okay, terrific, here we go.

Hi.

Are you waiting for the bus?

Yeah.

Hi.

Would you like to have a cup of coffee...

while you wait for the bus?

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

Sure. Why not?

Okay, well, why don't we go in there?

- Okay. - Come on.

Okay. I think that's terrific. Thank you very much.

I'm ready.

Move it any way you want. Get some excitement in that mouth, too.

Alright, that's it. That's the brightness. Lovely, nice.

Love it right there. Love it like that. Love that face.

Nice and easy like that. Beautiful.

No, no, don't change the leg position. That's dyna--

That's super.

Lovely. Lovely.

I think there's four...

Nice, nice, nice, nice with that hand. Absolutely lovely.

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.

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, beautiful. Perfect.

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 and we're out of here.

Just a little more innocent, a little more sexual.

Okay, a little more provocative, okay?

Well, Jimmy Carter just called you on the hotline, the Salvation Army.

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 at Bellevue.

I'm in sack, and I put up one third of the flames.

You just heard it. Nod your head yes if you don't believe.

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?

Do you help me get my voice back so I can take your shoes...

Alright, New York City's...

My brother in the House of Lords, Commons, bell ringers, is a black man.

Bell ringer, bell ringer, bell ringer!

Now, don't play with me. You've seen me down your block...

Now, I'm not fooling with you. I'm a professional.

EQUAL FASHION FOR WOMEN MEN GET IT ALL!

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 midpoint 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.

That's it. Good, good, good.

Let's do that again, it looked nice.

WE WANT THE ABL STYLE

ABL, IT'S A MAN'S WORLD

Okay. Come on, let's go.

When we get there, now.

Let's go, good, good.

THE BIRTH OF THE BLUE-REDS ELIZABETH ARDEN

HATARI IMPORTS OF NY INC

POPULAR ELECTRONIC... WHOLESALE

Okay! Yes. That's it.

Very nice. Yes.

Pretty, pretty, pretty.

Yes, that's it.

Right, right.

Okay.

Again, try that again.

Nice. Yes.

Right? Right.

Now... Pia, don't lean too much, because, that's it.

Keep an arm back there. Yeah, that's it.

Or you could put her hand on her.

That's it. Something like that.

Okay. That's very nice.

Okay, kid.

Alright. I think you're on camera. Yes.

That looks nice. Okay.

Good, okay. Very nice, very nice.

Yes, yes. Okay. You go on--

That's it. Nice, nice.

Come on, yes, that's it.

Jump a little bit, Tiffany.

Jump jump jump, baby. Yeah, yeah, yeah.

Okay, yeah. That's it. Okay.

Fun, fun, fun. Yeah, yeah, yeah.

Okay. That's nice. Nice. Yes.

Alright, that's it, that's it.

One girl coming in

went in the bathroom, changed the station to disco music

and screamed from the bathroom.

"It doesn't make any difference in life, Bob."

Do you think...

- About a quarter stop... - Quarter stop?

Let's just, let's just, push it.

Push the film.

You just, it's just sticking up a little too much, I think.

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

- Who cuts it? - Uh, Raymond, at...

- No. You don't go to Bob Fink? - Bob Fink? No.

Isn't he like, the popular hair cutter for guys?

No there's somebody called...

That's a real name. I'm not making that up.

- There's somebody called Julio... - No.

...who used to cut a lot

Bob's got that guy Bruce always used, he's practically on Bruce's staff.

- Bruce Weber? - Weber.

He's like the guy,

he used to always twist the hair on those photos.

It was like "Hair by Bob" thinking the guy's hair would be sticking out.

Like he's got a electric shock treatment.

Soon as you're ready to get into real estate, try to buy this building.

- It's a very good deal. - Yeah?

Is that too neat now?

Why don't you... wet it and I'll just shake it?

- Okay. - Really wet it.

That'd be great.

It doesn't look like the shot you already have, though.

- Oh, okay. - Okay.

Yeah, but if you're usually turning up at one of those catalogs like that.

- Like what? I don't know. - Like this.

But you look great this way. It looks neat.

Yeah, but I don't look like, Mr All-Middle-America.

I never understand that.

That whole thing, what people think. Yeah...

No, do you? It's so weird to live here.

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

About, about design.

Or is there someone who sells clothes around the country

what people look for outside,

and I realize, how little-- Actually, the light's better than...

How little we really are in touch with that

and what they think is, you know, it's so weird.

When I was in college and I was like, in political stuff,

I used to realize, how when all your friends are leftist or whatever,

you think that's what the whole country is, you realize that once you go

like one minute outside New York, everybody's like a Republican.

It's so weird.

Is this ready, Bob? It's set.

That's actually better, a little better lighting.

That looks great.

Good. Yeah.

Chin down. A little bit more, though.

Good. This is color now.

Does it make you think differently? I always think differently.

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

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

Don't say things like that. No, cause you know how that gets around.

No kidding.

Okay, good.

No, I actually, even though there's no difference in the speed or that's just set

by the machine, I always think, in color, that it's different.

I just want to get one little place for this...

Why did you ask if it was different?

I don't know. Because when it's black and white

they can fix all the mistakes. When it's color, it's gotta be right.

- You don't have any mistakes. - Oh. Thank you.

Mistakes!

- Mistakes. - Oh, mistakes.

Mistakes.

Do you still eat at those weird restaurants?

I don't know, those vegetarian restaurants?

Yeah, Japanese restaurants.

I can't understand Japanese food.

I actually eat at those weird vegetarian restaurants.

I remember one night I was passing you,

I think you were coming back from, was it Whole Wheat and Wild Berries?

- You ever eat there? - I did.

Chin down a little bit.

I always feel weird when I go to those restaurants alone

because other people who are alone are always reading

magazines about health things

and prevention and stuff like that.

You know what I mean?

It's so weird.

How's your book? You put new pictures in all the time?

- I don't get anything. - Why?

Oh, yeah, 'cause of the kind of shit you do--

You can't put that in your book!

Sorry.

- That's true. - I can't believe when I see that picture.

Where'd I see that picture when your hair was down to here?

Oh, it was in that book. The Male Model.

When was that taken?

About 1970.

You're kidding. You had long hair in 1970?

A lot of times, the girls now, they're getting this whole crop of girls

who really are very young,

they have no experience.

I have a friend who's a photographer who's worked for years,

and he said he's finally stopped photographing girls because he

can't talk to them, 16 or 17, they have no experience, they don't know anything.

And they're taught to do certain movements, they're stock movements.

And so they sort of run in front of the camera and do stuff,

and they won't stop and stand still.

There's no thinking process going on.

When you're shooting, you realize you're not getting

something coming back from them.

And as a relationship, they're just doing movements

or something they've been taught.

There's not-- It's just concentration.

- There's not that concentration. - Why don't they...

- I don't know. - That's whatever you do there.

I wanted to give one girl a Valium or something

because she wouldn't stand still,

and you know, relax.

It's so weird.

Wait a minute, please.

Well, almost ready.

Come closer.

Okay. Focus.

A little more coat.

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

You don't care about details, do you?

The gestures are more important.

Nice.

Great.

Quite tight on the plane.

I'm quite tight on your from your feet to your head.

So don't come in and out of the plane too much.

- Okay. - I don't know...

In other words, Apple's cutting your foot off, so move it back a bit.

- My feet? - Yeah, just move your foot back. Good.

Everything is...?

No, no, it's alright. You're fine.

Again, again.

Just a little bit. Yeah. Okay.

Apple's just walking to the shop.

Yeah, I got it. A little further back, in fact.

- Rose. - Yes?

- Okay. - I just can't stand that hat on...

- It doesn't look okay, though. - I don't like it at all.

No, it doesn't look good.

I don't like that hat.

But this is nice. I mean, the light's nice.

The light, it's fine, it's fine.

I think maybe the space should be like between her and her.

- Bigger? Oh. - No. It's fine.

But do you want doubles, and then--

- No. Together. - You want it.

- Triple. - No, but I'm saying,

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

and then one apart or...

Yeah, it can be. They can do things like that.

Oh, they like it, okay.

- Yeah, I love that. - Okay.

You're very, very--

Ignore one another almost, you know, just the same.

The same kind of like, you're like you're in a Bloomingdale's window.

- Mannequins? - Mannequins, you know?

Okay.

Okay, then just be standing there now.

A little more space.

Okay. That's good.

And Rose, that was good.

Yeah. That's that.

- Next we have another triple. - Two triples.

- Two triples? - Still have one.

Robert Clement?

I have a singing telegram for you.

It wasn't me!

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!

My pleasure.

Oh yeah. Absolutely.

Every time.

Snowball effect, yeah.

You are masterful. I mean, you are an incredible businessman.

What you do and everything.

Right? No, not really.

You expect it to be worse?

Yeah, you should be a step over this way.

Right there and look towards the light.

Right, okay, that's it.

Good.

Step over here.

This way. Okay. No, no. Yeah. Yeah.

Good. That's good.

Give me another bobby pin.

There you go, relax.

Maybe I should be a stylist.

Ah, no...

Give me a couple of big pins.

Danny, give me some more big pins.

I got it.

About four.

Let's see...

You can go now.

It feels good.

Are you moving in and out?

You're getting closer.

Yeah, yeah, I was gonna do some do some full length now

and then move in.

Are you sweaty?

Okay, if you could have a seat.

- I'll just buzz him in a sec. - Now, this was Hugh.

- Ed Brown. - Ed Brown. Looks nice.

Looks good.

I think he's really catching something subtle here,

which is not coming, which hasn't come through on a lot of the pictures.

- Right. - What do you think?

I like it. I like the one he chose.

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 with the photographers, is to see

what your limits are, how far you can go.

We can get a tear it, we can get a contact sheet, if it's no good, fine!

- Right. - But we're liable

to come up with something real interesting.

For example, J. Walter Thompson has 14 floors of office space, you know,

in New York with probably 75 art directors working in the art department.

Each one has a file because they work with models.

That does not necessarily mean that they ever see 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 it's possible, whatever.

So each one of those 75 have to have?

Yeah, absolutely. You see, this has nothing--

It's a much larger amount of people in New York than you will ever see

and be able to see in person, even.

You mean how long will it take you to see 4000 people?

You know, and some are on the West Coast,

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

There are stores all over the place

that use models from New York.

Do any of these parts go to Europe or is it just basically US?

Some go to Europe?

Are you freelancing with commercials or are you not signed

in particular with anyone?

Because it 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.

I think it's a good look for them.

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.

So that's going to entail leaving it overnight.

- Can you do that? - Fine.

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.

Great.

Go ahead and hold it and find the lens, right?

It looks like that.

Is that...

Mark.

There's just one little hair that's coming right across, right in front of her face.

She's got one.

Just one hair right here. It just keeps coming down.

But I think this is absolutely fine.

Great. Very nice.

Beautiful.

Turn your head this way just a little bit.

Come back. Right there.

Models who really can wear clothes,

they, you know, they're so tired of it because they work so much with it.

They, 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, they never wear those good clothes.

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

And it would be just so terrific.

I saw one beautiful girl come in on a, from a grocery or something,

and she had a green fatigue jumpsuit.

You know, it's just like, wow.

You know, it's just like, she just peels it off, and then she jumps into

a beautiful silk dress or something, and...

There's the dividing line between reality and illusion right there,

which is wonderful.

Well, you're the people that really look so great in clothes.

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

You should, you should-- Well, it's a lot of work, and it's hard.

It's nice, though, on the weekends I don't like to shave.

You know, you just like to relax. All week you are worrying about your looks.

We can just let the hair go, whatever.

It's a nice feeling.

I didn't shave today because I figured, well, maybe they want it real.

- Yeah? - You know.

So I didn't shave.

Because on the weekends, I do like to feel there's a difference

and I can relax, you know?

So I don't, I don't really go through the ritual of pulling it together.

Right.

When I ask you a question, include my question in your answer

so that people understand what you're talking about,

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

And when you can, when you answer the questions,

you can look right into the camera, right here.

What's your rate?

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.

Okay. Are you always conscious of your, good looks?

Are you very aware of it? Self conscious?

I... I'm aware of an inner thing.

I look from within.

How do your parents or your family feel about you modeling?

Oh, my family is elated. My father is 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 say, "Oh, I saw your grandson"

you know, blah, blah, blah. My family loves it.

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!

Yeah, come on. What's going on.

- Yeah, I knew this. - Prove it, buddy, okay?

Speaking of doing the shower scene.

- Okay, the shower scene. - The shower scene?

This is the last thing. This is the climax.

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.

What are your favorite soaps and shampoos?

I really don't have a favorite as far as soaps.

Shampoos, I like to use something that doesn't have too many chemicals in it.

I like to switch a lot because it builds up on your scalp.

Do you think of yourself as a sexual object?

So, do I think of myself as a sexual object?

Well, no, not really.

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 an idea that people are looking at you

and watching you.

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.

Who knows what this will lead to?

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 looking at.

But, you do see people staring at you in the subway and in stores,

and you've got to say, it is a nice feeling.

And you can be proud about it. There's nothing wrong with it.

- Do you play a lot of sports? - Yeah, I like to play basketball.

And I'm a very good skier, snow skier and water skier.

And tennis.

- Okay, kill the water. - That's great.

Kill the water, and now just dry off.

- Throw the man a towel! - Here you go.

Hey, hey, buddy.

Okay. We are on a kind of long shot.

Anything else?

Where are we going? Flood out here.

Fog out here.

Good. Okay, relax.

Alright, let's do it.

Good, that's great.

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

Good.

Good.

Good. That was great. That was great.

I like what you do with your mouth. Good.

Good Belinda.

Good. Good. That's good. Annabelle.

THE WORLD'S LARGEST STORE MACY'S

Okay, here we go.

That's it.

Okay.

Let's work in place.

That's it.

Rob, that direction.

Fine.

Okay.

Okay. Left hand out of your pocket, Randall.

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.

Good.

Okay, eyes.

That's it. Keep it strong now.

Good. Good. Do I have 400 on the background? Check that please.

Okay. That'll be fine then.

Good. Okay.

Overlook your shoulder.

That's it.

Okay.

It's okay.

That's a couple more we got.

Okay, lean your side, to the right.

So, hi.

You got it.

You didn't catch that?

Fine. Work together just a bit more.

That's it.

Good.

Okay.

Maybe in the pocket for the last few.

Yeah, yeah.

Okay, good. Keep it together.

The close-up's real nice.

- Good, right there, that's it. - Let me have.

- Okay. - You're playing the big leagues, kid.

That's it. Good.

INTRODUCING THE CALVIN KLEIN MAN

Quiet, please. Turn over.

And... action.

Darling... wait a minute.

Don't rehearse unless I get my eye in the camera. There's no--

I know, but I want to see it, alright? Go ahead, go ahead.

Whoa! Come back! Darling, go ahead.

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

You got to be coming faster than that.

- Right there? - Yeah. That's right.

Darling, just make sure that when you stop,

that you got a kind of a nice thing here, that's all.

Stop and then go. No? Okay, let's do it.

You ready? Quiet, please.

Ready, doll. And action!

One, two, three, four...

Sweetheart, you gotta make a little longer.

Okay.

Go stand in front of me...

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

So you got to take a little position here, like, you know something pretty here.

This is it. And then just pause there and then move off.

But let's get a position here that looks nice, right?

Well, I'm glad I like it too. I don't always like...

Oh no. Yeah, yeah.

Darling, get a position here.

Come on down and get a position. Oh, 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 that looks pretty, you know, a little...

Ready there. And... action!

One, two, three, four

- out. - Beautiful, nice!

- Yes. - Good.

Alright, sweetheart, the only thing wrong with that, that rehearsal 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, you know,

and then just stop.

That was good.

Yeah, yeah.

Quiet please.

Do it, do it for me, darling.

Ready and... action.

Darling, that was two pose-y there.

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

- You know what I mean? - Sometimes I think you're right.

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...

- Yes, sir. - Michael.

You ready, doll?

Okay. Stand by.

Turn over.

And... action.

- No, just lift your-- - Okay, let's go.

I don't care which one, darling. I just want to make it feel like it's in action.

Not...

Not that it's a pose. You know what I mean?

Just try the whole thing again from...

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

You've started to switch hands with it.

Don't, don't move it around, alright?

Standby, please.

And turn over.

And... action.

Good! Terrific, honey.

Nice. The pause here was very good.

Okay, once again, please.

I've got to stop?

We have to stop for about ten minutes till the priests get here

and get in the house. Okay?

I don't know why, but they asked us to, and we will.

Sorry.

What are we're doing today, just...

Well, today we're showing the clothes and the whole person. And the legs.

- The look? I see. - Right.

- Of the different women. I see. - Yes.

And then on Tuesday, we're just doing this peacock effect with the legs coming.

Yeah. That's more or less like, still life.

Well, although it will be moving, but it's like still life

things will still be putting in.

Well it won't be a still, it'll be a moving shot.

- Of course it's all moving. - And every leg you see will be yours.

- Ten legs on the screen. - I hope I have insured them!

Please let me, the sun is going, I'm...

Let me shoot one. Let me just shoot one while he marks.

Come here, count. Ready? Forget the music.

Alright. Ready, gang.

Stand by please.

Here we go. Turn over.

Make it good. Lots of lots of life, honey.

And... action.

Look, Jimmy, I'm off her head. I go down to her legs.

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

Wait a minute, please.

Darling, go back again.

Unless we can-- There's a way to 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.

It's not like I'm fond of this lighting.

- I just want to show the product. - Well, yeah, I don't...

This is, the most I can do to get dots out of her leg

is to put her in direct sun.

Can you do something with this lighting that you're comfortable with, for them?

Well it isn't,

it's hard shadows of the sun and everything are going to defeat,

in a sense, a 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 mean, I would love to sell the prettiest look.

I want to do it right once.

I mean, I got to keep moving, you know, so I...

Well, then I think we've got to show the pantyhose.

Okay.

Alright, do me a favor. Swing...

Thank you.

Stand by please, and turn over.

And... action.

And one, two, three, four, five, six.

Very nice. Once again, please.

Yeah, right.

Thank you.

So you're laughing to each other like this, and then you kind of

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,

and you both move into that position. Okay?

Thank you. Yeah, well.

Okay, light A.

Up in the air. Now go back out to my end position.

Okay. Terrific.

Standby, please.

Once again.

Okay, camera's rolling.

And action!

Nice.

I'm taking this, as she jumps up on the curb

just as you see it, the guy comes in to frame.

We're going to cut to her head doing this and this,

and then she's going to come towards me, and then we see his head going.

"God. Good looking girl."

He'll do this. He'll do, he'll do this.

Well, yes. Because his feet come into the frame, he--

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.

And that's it.

But she does this, she's gonna bump. Then they're going this way, then that way.

Then he's going to turn her around and go, I want a dolly over that.

Stay with her. So I want you to come right towards the camera.

I don't want to ease off.

And... action.

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 looking at your watch

and you're running. "Oh, shit!" It's not,

as a matter of fact, you should be looking at your watch and it's like. "Oh, Jesus."

But if you walk into it, you wouldn't bump into it, you know?

Okay, so run into it.

Put your hand up like you're looking at your watch.

"Oh, shit. Sorry."

Once again, please.

And... action.

And one, two,

three, four,

five, six, seven, eight.

I gotta tell you, 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 perfect.

I like the little dance where he turns around and sends her on.

That was excellent. But you should be on.

What you're doing is walking in. 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. Yeah, you're doing perfect. Just just do me a favor and have a--

You got a watch on. Oh, pretend you do.

And run in. I mean, you can watch her, but if you have your arm up

and everything, 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. And 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... No. - You want me looking back at him?

Just go your own way.

You gotta cheat...

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

We'll make it easier for me. Go back to this way.

- Rudy? - Rudy!

Rudy?

You better bring that around. I gotta move them back.

How about the lens?

That's the reason.

Go. And... action!

And one...

three, four, five, six, seven...

Terrific.

Donna, you bump into him, the shock look is terrific.

And then this way, this way, then it kind of, "Oh, come on" with a smile.

- You know, it's like, 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. It's kind of nice. - Yeah.

- When you're looking... - Okay?

Once again, please.

Ready and... action.

You should have been over...

After you bump and turn.

Pause, I told you. Pause. Stop there.

Little smile. Kind of like. "Oh, boy." And then take your time.

Go slowly down the line, okay.

Action.

Good.

GOLD OF ELDORADO

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

We take the one leg and we matte it over in the blue background over the second leg

and then the third leg, the fourth leg, and all 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 can't,

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 where we are.

- Okay. - Well, that's your problem, no?

- Well we share it! - Okay. Share it.

No pressure. We'll just do it till it's right.

You know, if we don't do one we like, we'll just do it again.

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

Okay. Alright. Fine.

So we'll just do it until you feel that you have it.

- Very good. - You know.

So let's now sketch how many pieces you want.

Let's, give me a, give me an in-between position.

Over, 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 cheat. - We'll get you in.

We'll get you an in-between height for now.

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, with the toe.

A little more out. Let me help you.

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

- Okay. - Draw it quickly.

Okay. Next one would be about here.

Go ahead, draw it quickly.

Next one would be about here.

Next one would be about here. Are you still okay?

- Apples? - Oh, yes.

- I'm fine. - 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.

Not bad.

Okay, that's the way we go.

We go to the eight count track. Maddie?

- It's weird dressing someone else. - I know, isn't it?

Can I help?

This already has snags. Will you need these?

No.

Very comfortable.

- Can I hold your leg? That be helpful? - Yeah.

- I can do it now. Yeah. - Yeah?

Got it?

How's it look? Fairly straight?

Maybe here just a little...

And track...

Five, four, three, two, one.

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

I'll put the picture on a line.

You hit the mark and you must keep steady for four seconds.

- Ready? - Five,

four, three, two, one.

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

Good, good.

Cut! Stop take.

I like the last one. Check it please.

- Relax. - Watching out here?

Please...

Black coffee...

Five, four, three, two, one.

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

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?

Charlie?

The point of the spirit.

Make sure it's not over the edge yet.

Right. Well, once I get up there, I'll trim it.

- Because you lift your foot... - That's true.

I don't know if I'm gonna be able to read too much of the fishnets.

Then we might go with the...

Let's take a look. We'll find out in a moment.

- Take 26 cinnamon. - Yes, please 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!

Thank you.

Five, four, three, two, one.

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

You're marvelous. You know that? Cut!

You're fantastic. I want to go look at that.

Thank you. That looked terrific to me. Let me go check.

Sound check, please.

Hal is on his way in to check this out.

Can you put your picture on the line?

Could you give us a picture on the line, sir?

Take 31 teal.

Roll it.

I want to get a position. Alright, put your leg on it.

Put your leg. Okay?

Now lower in the frame more, lower, lower, lower.

More leg.

More leg. And not as far out, in closer.

Oh. Yeah. In other words, down a little bit.

Okay. Zoom out.

Now tip up, tip up.

- There you go. - I got a piece of the leg.

Alright, well, pan off it. Okay, now toe down.

And towards you a little bit.

That looks like a perfect mark to me right there.

That's much better. That's it. Okay.

Keep rolling.

49 cinnamon.

Five, four, three, two, one.

One, two, three...

Okay, get your leg in.

Tip up on the lens.

No, no. Leave your leg alone. Point your toe down.

Okay. Little closer in.

Keep rolling. Give me another playback.

This is take 55. Wine.

Five, four, three, two, one.

One, two, three...

See, that's where it has to go hesitation.

There was a little hesitation in getting.

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

If you're on it, we'll do it. There was a little bit, when you come in.

Just a smooth kick.

Okay. Keep it rolling. This is take 57, Wine.

Five, four, three, two, one.

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

- Okay. Terrific. Okay. - Okay.

Yes, of course.

But you're doing it with your body, and you're doing it well.

And it's terrific because this is 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 playing and 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.

Beep!

We set, what's happening?

Watch your knee, Doug.

- Can... - Put your leg out, honey?

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

That's just terrific. Fine.

Okay, good.

Okay. I think if you just angle...

- Okay. - I think that's marvellous...

- Aim in towards you a little. - In other words.

- Instead of this way. - Diagonal?

Yes, but this way. Not that way.

So that way would tend to mask to seam a little bit toward the lens.

- Yes. Thank you. - Okay.

71 Black.

Do we have speed?

Five, four, three, two, one.

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

Okay. Very good.

Playback.

- I want to look at the last one. - You'd like a look at the last one?

Stop take and let's look at the last one, please.

Go inside and see what they're looking at.

He's on his way.

Check this out.

Evan-Picone I love you right down to my toes

Because to go with my beautiful clothes

Evan-Picone creates the well-dressed leg

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.

THE WELL DRESSED LEG.

Chuck, take the back lights out.

I also have a light in just on the side there.

My right side.

Okay, let's do it then. It's good.

Okay. One, two...

I need it shouting, please!

Three!

- One, two, three. - Yay!

Good. One, two, three.

One, two, three.

One, two, three.

- One, two, three. - Yay!

America, you're guilty!

You can't hide, the Black Nation charges genocide.

US IN VIOLATION OF BLACK PEOPLE'S HUMAN RIGHTS

You can't hide, the Black Nation charges genocide.

America you're guilty.

You can't hide, the Black Nation charges genocide.

FREEDOM FOR DESSIE WOODS PUT CARTER IN JAIL

She's going to get it.

Are they sending us your release?

Well, then.

I guess it's good. It's a foundation.

I don't wanna take anything out because you don't have much,

they're all good, so we'll leave it this way for now.

Until we get more things from you.

- Do you have any-- - Heidi, can you jump on a trampoline?

Can you use a trampoline without killing yourself?

David?

On this gala one, do you know if Marcy Casterline went on it?

- So you're call - Yes.

Is first thing in the morning. Anytime after 8:30, then before 1:00.

Again around 2:30

And check in time is between 5 and 5:30.

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

Well, that's so far. I mean, when is this?

- Tomorrow? - Yes.

They're paying everything certified check.

COD on the spot tomorrow to the women's division.

I suggest that when they confirm...

This afternoon, I said no, we'll take alternative for tomorrow.

They have to, they're on COD.

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

know, and this check mark will mean callback.

Leave the rest blank and we'll fill that.

Are you going to use this chair?

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 going to want to 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 just, you're 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 going to turn on to your look.

Oh my God. They're fabulous.

Look at this. That's beautiful.

Nicky, this is fantastic. I love this.

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

- I like them, they're really-- - This is, look at this.

That's incredible.

- It's movie star... - Oh right.

- Definitely. - Isn't that fantastic?

Fantastic.

Arthur Gordon did this?

I don't care for...

Who did these? These two are very pretty.

That one was, oh, it was a coat.

This is fantastic.

You should have it done in a smaller, like, center print

as opposed to a large one.

It's that dark color.

It'll just come right out to you, you know? It'll just come...

Oh, here she is, Isadora. Look at this.

Where is Isadora?

- With the... - About to kill herself.

Oh, right. Yes, definitely.

Okay, I'm gonna stick this back in here.

- Okay. - Okay?

- Looks good. Need any more cards? - Well, I got that handful yesterday.

I'll probably get some next week.

Alright, you know what we can do? We can call Tom,

and see if he can come later.

Because I had that other test scheduled,

I had told him I could only test till four.

- And now the other one is canceled. - So now you can--

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

an hour or two later 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 he's so full of shit.

I mean, you really, this is just shit.

So 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 really kind of angry about it, you know, because this has happened

in your little peaceful town and it's destroyed that,

that, you know, kind of passive, quiet, pleasant town that you're a part of

because you are a reflection of that town.

So now think about that.

Do, just do right down to here. Stop right here.

Read just down 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, in magazines and they're becoming

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 saying that in essence, okay? Just try it and do it 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.

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 elements.

So at times you're almost laughing at it. It's a nervous laughter.

Look at them! They're waiting for something.

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 to 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.

It 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 any of it right now.

Of course you do! Of course you do.

Because, see, this could happen to you if you were there, God forbid.

And she's talking about this manager being kind of hypocritical.

Yeah. And you're with it.

I mean, you're not valedictorian of your graduating class, but you know,

you know, you're observant.

That's what it is. She's worldly wise.

She knows, she's no dummy.

She's going to tell the world about it.

He's so full of shit.

This whole thing's 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 his French fry offer?

Commitment. My ass! It's because his meat freezer went off,

and because the night of the flood, the meat freezer went off

and the burger meat 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.

Cecil B DeMille presents 'A Flood of the Dumb, 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. You know what you're doing.

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 judgments right there.

And that's what she needs to do. She would do that "Commitment?

"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 on the 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, and 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 2 and 5%

of the people that walk in will accomplish that.

And out of that 2 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, do have, some have a 20 year span.

Female models have a much shorter span, to make their lifetime earnings in

and I don't think they're overpaid. They work very hard.

And in order to be on top of your profession nowadays,

there's a very competitive... To stay there is very competitive.

And, you don't have, like, other people, 45 years to...

make it and retire with, etc.

You're self-employed and you have to, you know,

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, 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 find

some stupid lawyers, some kinky lawyers,

some lazy lawyers 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 who are 50. Have wider, bigger imaginations,

bigger perceptions of the world at large, are more charming and can be more

dependable, you know, at a young age.

I'm not saying they're all that way, but I'm saying

that the educational process and modeling for a young person does allow...

for a much diverse, worldview and wider worldview 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.

No, I mean, I give more than before because...

Now, it takes a long time, but...

- And also... - Who's next?

Margot? If somebody...

Don't hurt her. She has to do my feet still.

Ow, what!

Don't shake my French twist out!

Oh, God!

Oh, this is life, huh?

Wait a minute, wait a minute.

Look at Jerry's shoes.

Wait a minute, Jerry...

To the fashion show. Come to the fashion show. Hey!

Alright, take it off!

Oscar, you gotta take him for your next show!

One of us is gonna get canceled.

Okay.

Yes, yes.