Cinq heures d’interview avec le maquilleur Dick Smith

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L’académie des arts et des sciences de la télévision filme depuis plus de vingt ans de longs entretiens avec des personnalités du petit écran sur leurs rôles et leurs productions. Hier, elle a mis en ligne plus de cinq heures d’entretiens avec le maquilleur Dick Smith, enregistrée en 1996. Il revient notamment sur son expérience de responsable des maquillages sur NBC dans les année 40, ou les changements imposés par le passage à la télévision en couleurs.

Part 1
On his childhood and early influences; on his parents’ divorce; on his years at Yale
On discovering stage makeup; on scaring classmates at Yale with his monster makeup; on his interest in movies; on dressing up as Frankenstein’s monster and scaring people at a movie theater

Part 2
On scaring moviegoers with Frankenstein makeup, contd; on the 1939 World’s Fair
On giving up the idea of being a dentist and deciding to be a makeup artist; on gathering supplies and materials for costumes and makeups at Gray’s Drug Store in New York City
On his father’s Hollywood contacts and applying for his first job in television makeup

Part 3
On the NBC art department in the 1940s; on odd jobs before getting into television; on his big break into television; on practicing makeup at theater companies and reading books
On what he learned from doing theatrical makeup; on standard makeup tools in the 1940s; on his first attempt at making plaster molds and applications for an Abraham Lincoln makeup; on learning about rubber mask grease paint

Part 4
On the tools of the makeup artist in the very early days of television; on fellow makeup artists in the 1940s and makeup tips from other artists
On « blood » for The Godfather; on his first days at NBC; on using monitors to see how makeup would look on television; on actors’ nerves in live television
On the speed required for television makeup

Part 5
On his work schedule and staff at NBC; on his early makeup « lab »; on learning piano during his first days at NBC
On his perfectionist ways; on budgets and administrative duties; on Fred Coe; on heading the makeup department
On the creative atmosphere at NBC; on recollections of Fred Coe

Part 6
On problems that arose on long dramas; on difficulties with directors’ and writers’ demands; on makeup for James Beard’s cooking show; on his on the job learning
On the difficulties of television’s hot lights; on the image orthicon camera; on the difficulties of close-ups; on problematic makeup for actor Vaughn Taylor

Part 7
On stock players during the early days of NBC; on a makeup mishap on a production of The Count of Monte Cristo; on mishaps on Kraft Television Theatre
On the most disastrous quick change he ever did; on difficulties removing prosthetics; on keeping cool under the pressure of live television
On special effects for film; on makeup for Hour Glass, Campus Hoopla and Philco-Goodyear Television Playhouse

Part 8
On his staff and duties at NBC; on an incident with the king of Yugoslavia; on working with Milton Berle
On tensions backstage during the early days of television; on quick makeup changes with actress Claire Bloom in a Robert Montgomery Presents production of « Victoria Regina »

Part 9
On feedback on his work from trade articles and supervisors; on the sense of accomplishment he feels from applying 3-D makeup; on experimenting with vinyl and foam latex
On creating makeup and appliances for color television; on materials he used; on lessons he learned from doing makeup for The Exorcist – different budget from television
On waterproof makeup; on gelatin molds (pre-latex); on advancements he made for bald caps

Part 10
On contributions to makeup that he spearheaded or invented; on trading information and tips with artists at other networks; on the supremacy of NBC’s makeup department over CBS’ and ABC’s due to his own personal drive
On leaving NBC; on working in film and with David Susskind in television and film
On NBC censorship; on the Hollywood blacklist; on his greatest achievement at NBC

Part 11
On makeup disasters; On his favorite and most difficult actors to work with; on developing as an artist in live TV; on what he would have changed about his TV career
On his thoughts on people with whom he’s worked

Part 12
On his thoughts on people with whom he’s worked; on makeup for David Susskind Productions
On television’s conversion from live to tape; On Power and the Glory, Man of La Mancha, and working with Maurenn Stapleton
On photographs of his make-ups: him as the « Phantom of the Opera », as a derilect, as the « Hunchback of Notre Dame, » of his Abraham Lincoln mask, of his makeup room, of Vaughn Taylor

Part 13
On photographs: of Eva Marie Saint, John Carradine, Vaughn Taylor, Gertrude Lawrence, Dennis King, Nicolaus Saunders, Jose Ferrar, Fred Allen, Rex Harrison, Ralph Richardson, Everette Sloan, Jimmy Durante, Winifred Heidt, and Nancy Marchand
On photographs on cast members of Alice and Wonderland, Peter Pan, Born Yesterday, Caesar and Cleopatra, « Victoria Regina » and of Audrey Hepburn

Part 14
On photographs of makeup for Judith Anderson, Lee Cobb, Laurence Olivier, Sterling Hayden, Julie Harris, Patty Duke, Dustin Hoffman, Hal Holbrook and others
On photographs of makeup for Jack Palance, Ed Flanders, Fred Gwyne, Jean Simmons, Marlon Brando, Linda Blair, Hal Holbrook, F. Murrary Abraham and others

Posted by Jerome   @   17 mai 2016 3 comments


mai 19, 2016
6 h 52 min
#1 Geoffroy :

Super docu, merci pour le partage Jérôme

mai 27, 2016
12 h 55 min
#2 riton :

le doc c’est de la vo pure?

ou vostfr?


Author mai 27, 2016
13 h 06 min
#3 Jerome :

vonst. C’est une chaîne youtube américaine

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