Autumn on Screen

Far from the Madding Crowd 

The show of the changing leaves, the preppy look,
the back-to-school atmosphere

There is no other time like autumn for travelling, especially by car. The weather cools, the roads are empty, and the spectacle of the fall foliage makes any drive even more attractive. But there is also the calmness and comfort of settling into a routine, the back-to-school feeling, and the long, quiet evenings spent at home as the days are drawing in that I love just as much in the fall. With its scenery blanketed in changing leaves, the musky smell of rain, the golden afternoon glow and the tweed jackets, autumn is a season that also lends itself to captivating storytelling, timeless style and gorgeous cinematography. So here are some of fall’s greatest on-screen moments (these are all examples of movies when I prefer colour to black and white).
Far from the Madding Crowd (1967)
Directed by: John Schlesinger
Cinematography: Nicolas Roeg

Cinematography is a key storytelling tool in John Schlesinger’s film adaptation of Thomas Hardy’s 19th century romantic novel. The forces of nature are used to echo the emotional state of the characters, as the narration unfolds under the English autumn sky, on the backdrop of the picturesque rural countryside and an earthy, rusty palate. But however beautiful a visual depiction of life on the farm the film may be, I wish it depicted the real significance of the characters, not just show them as romantic lovers. And there is also that movie still of Julie Christie, as seen above, which, if it were a painting it would have been entitled to be named “Autumn”, so I had to include the film here.
The Trouble with Harry 1955 
The Trouble with Harry (1955)
Directed by: Alfred Hitchcock
Cinematography: Robert Burks

“With Harry, I took the melodrama out of the pitch-black night and brought in out in the sunshine,” said Hitchcock. I am very fond of this black comedy of his. In the rural countryside of Vermont, on a fall day, three shots are heard. A little boy playing in the woods discovers the body of a man, who, upon investigation, turns out to be Harry. Several people in the community believe they may be responsible for his accidental death, and adding to the confusion, Harry keeps showing up in all the splendour of rigor mortis at the most embarrassing moments. Alfred Hitchcock’s jet black humour plays out beautifully against the fleeting leaves. They say New England leaf viewing is at its finest in Vermont – in fact, Hitchcock’s crew arrived too late to catch autumnal Vermont in its prime, so they were forced to glue fallen leaves back onto the branches.

One of the best lines, according to Hitch himself, is when old Edmund Gwen is dragging the body along for the first time and a woman comes up to him on the hill and says: “What seems to be the trouble, Captain?”
Rushmore 1998 
Rushmore (1998)
Directed by: Wes Anderson
Cinematography: Robert Yeoman

Rushmore is “at once arch and earnest, knowing and innocent,” says Matt Zoller Seitz in the book The Wes Anderson Collection. I think therein lies its beauty. Rushmore may be my favourite Anderson film. As soon as that opening scene rolled in (you watch Max Fischer completing “probably the hardest geometry equation in the world”, but soon realise he’s only dreaming), I just knew I was going to love it. Jason Schwartzman’s Max Fisher adds an edge to prep school sites. His grades are the worst in school, but he excels at extracurricular activities. Wes Anderson said in an interview in the aforementioned book that the idea of Max putting on the plays was from his own experience, but that the character is a combination of things from Owen Wilson’s (the movie’s co-screenwriter) life and his, though mostly it was from their imagination. “They don’t start out demanding that we adore Max simply because he’s the main character, nor do they indulge in the usual feel-good Hollywood mechanics capped by an eleventh-hour conversion of Max into a boring saint,” says Zoller Seitz. But what is most important is that Jason Schwartzman truly owns his Max Fischer. Max owns that school uniform, too, by the way. He rocks the formal blazer even when he is banished to the public school across the street, and through the humiliation that follows.

Best line: “I saved Latin. What did you ever do?” (Max Fischer)
Days of Heaven 1978 
Days of Heaven (1978)
Directed by: Terrence Malick
Cinematography: Nestor Almendros/Haskell Wexler

Terrence Malick has created some of the most visually arresting films in the history of cinema. Days of Heaven is one of the most beautiful films ever made, having set a new standard in cinema aesthetics. The collision of loneliness, human suffering or violence with natural beauty is one of the distinctive elements of Malick’s film-making style. He chose the endless Texas prairies as the natural backdrop for Days of Heaven. In the first hour, there is scarcely an indoor scene, and the film was frequently shot at the “golden hour”, that magical time for photography, near dawn and dusk. The credit for cinematography goes to Nestor Almendros, who won an Oscar for the film. But there is also a small credit at the end of the movie to Haskell Wexler for additional photography.
Harry Potter and the Pridoner of Azkaban  
Harry Potter and the Prisoner of Azkaban (2004)
Directed by: Alfonso Cuarón
Cinematography: Michael Seresin

Like all the films in the series, Harry Potter and the Prisoner of Azkaban covers one full school year – it’s one of the reasons why I love the Harry Potter films. And I love Hogwarts – during a Q&A with Ethan Hawke at the American Independent Film Festival which I recently attended, the actor mentioned that there is nothing else that he’d rather do instead of film, but added that he loves the Harry Potter series, which he watches with his daughter, and that if a place like Hogwarts existed, he wished he were cool enough to go there. That about sums it up for me, too. But what I particularly love about this third film in the franchise is that it is quite possibly the bleakest, most visually striking, and, yes, the best of them all. Harry’s world has grown darker and more menacing – The Prisoner of Azkaban is pivotal in Rowling’s cycle, as it’s the turning point when the existence of a darker side is acknowledged.

Not only does Cuarón’s Harry Potter world do justice to J.K. Rowling’s vision, but he rises up to her soaring imagination, too – the film pulls you in; you can feel this fantastic world, and that’s also thanks to the beautiful cinematography of Michael Seresin. I could watch this any time of the year, but I think it should be saved for those dark November evenings foretelling even darker winter nights to come. Just as The Prisoner of Azkaban foretells even darker things to come for Harry Potter.

Best line: “A child’s voice, however honest and true, is meaningless to those who’ve forgotten how to listen.” (Dumbledore)
Hannah and Her Sisters 1986 
Hannah and Her Sisters (1986)
Directed by: Woody Allen
Cinematography: Carlo Di Palma

In Woody Allen’s own words, the film has a simple plot about a man falling in love with his wife’s sister. The director described it as one of his “novels on film” – he had reread Anna Karenina and wanted to experiment with a novelistic style, intertwining various characters and stories. “I have a tremendous attraction to movies or plays or books that explore the psyches of women, particularly intelligent ones. I rarely think in terms of male characters,” Allen said. He likened Hannah’s (the most complex and enigmatic of the sisters) silent strength to that of Al Pacino’s Michael in The Godfather.

The filmmaker collaborated for the first time with Antonioni’s cinematographer, Carlo Di Palma, on this project, and began shooting in the fall of 1984 in New York City, using Farrow’s real-life apartment as Hannah’s home in the film. Di Palma’s ravishing autumn colours of Manhattan (the narrative goes throughout the course of two years and three Thanksgivings) are a highlight of the film and the movie itself is another one of Woody Allen’s love letters to the city of his heart (however realistic or unrealistic his view of NYC may be). That image of Hannah, Lee and Holly, on the poster of the film (one of those very rare occasions when the picture of the actors on the poster of the film has a lasting impression on the viewer), all dressed in camel and other shades of browns, I always associate with fall. On a side note, Hannah and Her Sisters is one of my favourite Allen movies from his early period (Match Point is my favourite from his recent filmography).

Best line: “For all my education, accomplishments, and so-called wisdom, I can’t fathom my own heart.” (Elliot)
Hitchcock Truffaut , by François Truffaut

The Wes Anderson Collection , by Matt Zoller Seitz

Woody Allen: A Retrospective, by Tom Shone
photos: screenstills from “Far from the Madding Crowd”, 1967 (MGM) / “The Trouble with Harry”, 1955 (Alfred J. Hitchcock Productions) / “Rushmore”, 1998 (American Empirical Pictures/Touchstone Pictures) / “Days of Heaven”, 1978 (Paramount Pictures) / “Harry Potter and the Prisoner of Azkaban”, 2004 (Warner Brothers) / “Hannah and Her Sisters”, 1986 (Orion Pictures, Jack Rollins & Charles H. Joffe Productions)

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Fashion On My Own Terms

Autumn fashion moodboard 
It’s becoming a pattern. The beginning of autumn is about the only time of the year when I seem to write about fashion, except for my designer interviews and for the one regular style series on the blog, which are about expressing my love for fashion through featuring real women wearing real clothes. Long gone are the days when I was blogging, quite religiously I may add, about fashion. But despite my total lack of interest in the fashion shows (I think I have not viewed one single runway collection in almost two years, nor have I felt the desire to) and in penning my thoughts on anything much related to fashion, I still love it. I think it’s just that my interest has shifted towards a different kind of approach to it, more mature, more balanced, more lived-in (hello, motherhood and mid-thirties!).

You know what I mean? I may go to the playground in the park in the morning, but still enjoy dressing up for the evening. I still love a good pair of heels, but don’t take myself too seriously (and usually go for flats – honestly, I hadn’t worn heels in almost a year when I finally put them on again last week when I attended a few screenings during the American Independent Film Festival here in town). The bottom line is, I like to look lovely and cool and not need to apologize for it. And I think every woman that I admire (many of them not working in fashion; and those who happen to work in fashion, I admire for making fashion on their own terms) will admit to that. Because you know what? “Looking good isn’t self-importance, it’s self-respect,” said Charles Hix. These are some of the words I live by. And, yes, feeling put together and elegant does wonders to the psyche, too.
Fashion on my own terms

Handmade Greek bracelet 
That said, I don’t need to know the trends to know what looks good and what looks good on me. And if I am to seek inspiration, I’d rather take it from the daily life (and maybe try to please my two-year-old son, too, along the way – he makes me change my t-shirt if he doesn’t like it, and does not stand me wearing sunglasses, so he makes me take them off, takes my face in his little hands and makes me look him in the eyes for a few seconds and then runs off happily), from the movies I watch, or turn to old fashion magazines (how is it that I find old editorials much more relatable than the latest ones?) and fashion books. Because any person with a decent amount of common sense and a little sense of style will manage to put this kind of inspiration into practice, and look modern, put-together, effortless,… herself.

So I’ll get myself some fine tailoring, a menswear inspired trench and a smattering of herringbone tweed for good measure, seek pleasure in the comfort of my most priceless and comfortable sweater on the cloudiest of days, overdose on wearing grey (my favourite colour) head-to-toe, and not give up looking for that perfect camel shawl. And if we are to talk trends, let’s invent our own: wear clothes that make us feel good. That is something worth cheering every single day.
Autumn fashion moodboard 
It’s about writing your own story. And speaking of stories, I am going to tell you one about my favourite jewellery store in the world. I am not much of a jewellery person, but: 1) for a few years I have been developing a thing for bracelets; and, 2) if there is still a part of shopping that I enjoy, it’s bracelet hunting everywhere I go. My encounter with KIPKH store (the name means Life with A Path in Greek) took place three years ago, during my vacation in Syvota, Greece. Among the multitude of more or less kitschy souvenir shops, this concept store stood alone. I was immediately taken with its charm and beautiful selection of genuine art, from jewellery to ceramics, hand-made by Greek artists.

This year, on our way back from Corfu island, we specially took a detour to Syvota to pay another visit to the shop. Not only did I find another bracelet which I fell in love with (see second and third photos above)(actually, I wish I could have bought the dozen of different bracelets I fell for) and which I will most probably not take off for a long time, but the owners, mother and daughter, also remembered me and vividly recounted my first visit there and the bracelet engraved with a poem that I last bought. It is the kind of personal touch, customer care and passionate work that can make me embark on a 1,000 km car drive just for visiting this fantastic little store tucked in the picturesque village by the Ionian Sea. And, in case you are wondering, they have no online store, no Facebook page and no Instagram account. They just exist there – they chose not to open another shop, not even in Athens, where the owners reside off-season, in order to preserve the authenticity of their store, and they do it so beautifully that their decision makes perfect sense. It’s also the reason why I simply could not bring myself to take photos of the shop: I want to keep part of the secret to myself. This place is special like that.

photos by me

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Crisp Precision: Lindsay Crouse in House of Games

Style in film-Lindsay Crouse House of Games 
Her outfits are mannish; her words are enunciated with cold, distant, crisp precision; her presence is uptight and cautious; her sculpted face never crumples. Some have criticized Lindsay Crouse’s performance in House of Games as robotic, a total absence of appeal, even unsettling. I beg to differ.

I am no feminist, but why are female characters, unlike male characters, expected to be read for signs of sympathy and vulnerability? Because I think Lindsay Crouse is great in the film; her role is intentional, her manner of speaking, deliberate and practiced. It makes for a fascinating character study. Besides the film’s spectacular set-up (“The true joy of watching this film is in savoring its fine appreciation of a good game,” Jörn Hetebrügge describes it in the book Film Noir: 100 All-Time Favorites ), it’s her character that engages the viewer’s rooting interest. What will she do next, what is she looking for, how far is she willing to go, is it revenge she’s after, is it a deep-down repressed satisfaction, or both? Even after the night she spends in the hotel room with Mike (Joe Montegna), there is nothing to give away her true feelings. Wouldn’t it have been a cliché if she had?
Style in film Lindsay Crouse House of Games

Style in film Lindsay Crouse House of Games-21 

“It’s called a confidence game. Why? Because you give me your confidence?
No. Because I give you mine.”

House of Games marked David Mamet’s directorial debut. He had already earned his reputation as a playwright (winning the Pulitzer Prize in 1984 for Glengary Glenn Ross) and screenwriter (The Verdict (1982), The Postman Always Rings Twice (1981), The Untouchables (1987)). Mamet has a distinctive, pragmatic style of dialogue, dubbed “Mamet Speak”: poignantly stylised, cynical, abrupt, reminding of film noir dialogue. That’s probably what I liked the most about the film, the overall neo-noir feel. Only it gets even better: the male and female characters are reversed. It’s not the morally ambiguous male anti-hero alientated from society who falls in the traps of the femme fatale, but a successful woman psychiatrist who falls into the traps of a con artist. It’s her who turns you into a willing accomplice.
Style in film Lindsay Crouse House of Games-3

Style in film Lindsay Crouse House of Games-2

Style in film Lindsay Crouse House of Games-4 
Crouse’ Dr. Margaret Ford is a successful psychologist who sees her career as more than just a profession – it’s her calling. Ford’s best-selling book, Driven: Obsession and Compulsion in Everyday Life, is a treatise on compulsive behavior, and it is her drive for her chosen profession that draws Margaret into an unfamiliar, underground world of professional grifters. As she continues to venture with the swindlers, it becomes clear that she herself has some unsolved issues of her own. Though, even prior to her involvement with them, she makes a couple of occasional-but-noticeable Freudian slips, something which later plays a significant role during a pivotal scene in the film. It’s also worthy of note that she doesn’t reveal her name to any of the con men until that very scene. That should tell us something about who’s playing whom.

Because, besides the behavioral hints I mention above, there is also one visual element that I do not believe is coincidental: the colour red that first appears in the outfit of the admirer who is nervously approaching dr. Ford asking for an autograph (she’s all dressed in red), then the red taxi cab that Margaret takes after her first visit to the House of Games, and, finally, the red convertible car she has to steal to get away after she is made to believe she has killed a man. Take it as an alarm signal for everyone, from the grifters, to yourself, the viewer: You have to pay attention!
Style in film Lindsay Crouse House of Games-5

Style in film Lindsay Crouse House of Games-6

Lindsay Crouse House of Games 
Slant Magazine was referencing an interview in which Lindsay Crouse made a compelling analysis of House of Games as a dream film – a non-representational narrative built from bits of Margaret’s personality. The costumes are part of that personality. So let’t pay attention to them, too – Nan Cibula was the costume designer. Margaret Ford scarcely wears jewellery. Just a classic leather-strap watch, and delicate, barely-there earrings. She wears her hair cut short. Her shirts, completely buttoned up, vary from white to white with blue stripes, and blue. Her suits are sober, wide shouldered, and navy, grey or light blue coloured.
Style in film Lindsay Crouse House of Games-7 
I’d like to elaborate on that remark about the unattractiveness and masculinity of Margaret’s outfits. It was the eighties, the decade of power dressing. Women’s clothes were inspired by men’s wear. The power suit is the term coined in the 1980s to describe a skirt suit worn by career women, with the jacket resembling a man’s suit jacket in cut, but having the shoulders heavily padded and exaggerated. Women embraced the sober suit in pursuit of an image that would convey self-confidence, decidedness, affluence and success in the business and social world. “The simple tailored wool suit in neutral navy or slate blue gray, worn with non-sexual blouses, imitated uniform at rank, which, by design, was authoritative,” argued John Malloy in his book, Women Dress for Success. To label Margaret Ford’s clothes as unappealing and leave it at that, is to miss part of the point. Her clothes may be indicative of stunted sexuality, but they are just as much indicative of professional objectivity.
Style in film Lindsay Crouse House of Games-10

Style in film Lindsay Crouse House of Games-8

Style in film Lindsay Crouse House of Games-13

Fashion on Film Lindsay Crouse House of Games 
And then there is the trousers look (my favourite). Tailored, pleated trousers in a shade of beige, a powder pink waist-long jacket, and heels. Still masculine inspired, but there is something new to it. She’s put on a coloured necklace. It is not ostentatious, I wouldn’t have noticed it if she hadn’t played with it (see first image in the set above) in that scene when she returns to the House of Games. But there has been a change. “Is it something that gives you joy? Good.”, says her friend approvingly when Margaret refuses her dinner invitation saying that she has other plans. And I think this joy she feels hints more at the fact that she is beginning to like the game than that she’s becoming attracted to Mike.
Style in film Lindsay Crouse House of Games-16

Style in film Lindsay Crouse House of Games-15

Style in film Lindsay Crouse House of Games-17 
In the final scene, Mamet first shows Margaret from behind. She is wearing a floral dress in vibrant colors, perfectly blending in the setting of luscious vegetation. She turns around and we see her red-rimmed sunglasses, red clutch and white oversized earrings – the kind that don’t go unnoticed anymore. She has the same calm and calculated manner of speaking when approached by a reader asking her to sign his copy of her book. But something is different. She has taken a trip and “forgiven herself”, she tells her friend who had given her this exact piece of advice without her knowing what Margaret had done. Ford steals a gold cigarette lighter from a purse, and her smug smile of self-satisfaction afterwards, as she lits her cigarette with it, reveals that she has fallen into the addictive lure of being a con artist herself. That is what brings her joy.
Style in film Lindsay Crouse House of Games-18

Style in film Lindsay Crouse House of Games-20

Note: This article has also appeared on The Big Picture magazine

photos: film stills captured by me | Filmhaus

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On the Trails of 007

On the Trails of James Bond Issos beach Corfu 
This time last week I was still basking in the sun of Corfu island. I would be lying if I said that the fact that the James Bond movie For Your Eyes Only was partly filmed there didn’t play a part in my choice of our latest vacation in Greece. When we arrived at Issos beach, on the southwest coast of Corfu (the Achillion Palace and the Old Fortress in Corfu Town, Paleokastritsa Bay and Pagi village were also among the filming locations – we didn’t get to visit the latter one, because hopping on the island with a two-year-old is quite an adventure in itself), on our second day on the island and casually mentioned it to my husband (I had kept it to myself), he gave me a you-are-definitely-a-bigger-film-fanatic-than-I-am kind of look. Although, I had been known to check out filming locations before for holiday destinations.

And, to be 100% honest, this little 007 fact is also the reason why I am sharing a few images today. It was our son’s first seaside holiday (we have a sea lover!) and it was special. I want it to remain special, so I will be keeping the most beautiful photographs (you can see a few more on my Instagram), views and memories to myself and my family. More wild and golden sand beaches were visited, spectacular sunrises and sunsets were witnessed every single day, unstoppable laughs happened. And it felt so damn good to go remote for more than a week. As one should. Because life is lived in the undocumented. For your eyes and your loved ones’ only.
Issos beach Corfu


On the Trails of James Bond Issos beach Corfu

On the Trails of 007 Issos beach Corfu island

On the Trails of James Bond Issos beach Corfu  
PS: I may have hunted Bond on Issos beach, but everyone in my family agreed on contiguous Marathiá and Agía Varvára (aka Santa Barbara, Maltás, Martás) as our favourites on the island.
On the Trails of 007 Corfu island

Santa Barbara Beach Corfu

photos by me

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One Day That Summer: Shirley MacLaine on the Set of “Can Can”

One Day That Summer Shirley MacLaine by Bob Willoughby  
Summer may be over, but the series One Day That Summer continues on the blog with my conversations with photographers and photography collectors to bring you exclusive stories from behind the lens, whether travel photography or pictures from the movie sets.
He wanted to tell a story, not sell a story, through his photographs. Bob Willoughby introduced photojournalism to a previously highly staged field and revealed the actors of the Golden Age of Hollywood “as themselves, not merely as the characters they played”. He would roam the set freely, mingle with directors and actors, invent the remote-camera, hide behind the crew, become part of the decor – spontaneous moments look best on film, always, and, in that regard, a good photographer is the one you don’t even get to see – and granted the public unprecedented, unedited access behind the closed doors of Hollywood. Willoughby, who studied film at the University of South California and design with renowned graphic designer Saul Bass at the Kahn Institute of Art, loved the big screen and those on it, and it just shows that his work stemmed from passion for and understanding of cinema. This portrait of Shirley MacLaine, on the set of the film Can Can, 1959, is proof of the wonderful perception with which the photographer captured the actors and directors on and off the set, in moments of repose and high drama.

I have talked to David Fahey, the owner of the Fahey/Klein Gallery in Los Angeles to find out just what it was that gained Bob Willoughby the trust and backstage access of the first rate actors of the ’50s and ’60s, and whether they truly do not make movie stars like they used to. The Fahey/Klein Gallery is one of the leaders in the exhibition and sales of fine art photography, devoted to the enhancement of the public’s appreciation of the medium of photography, with an extensive activity in curating and collecting the works of some of the most appreciated photographers of the 20th century.

“He was a smart observer and he recognized the soul
of the story, like he could also identify
the soul of his subjects.”

Many film-makers are very particular about the set photographers they allow to document their work. Bob Willoughby was, in fact, Hollywood’s first behind the scenes photographer, the first “unit photographer”, the one who made the movie stars human, capturing some of the most famous and best actors of the 1950s and 1960s with their guard down, not posing for the camera, at their highs and lows. And yet, they trusted him completely. What was it that gained him their trust?
He was simply an excellent photographer whose distinctive images not only captured the humanity in each subject, but were also dramatic, memorable, and interpretative portraits. His first LIFE Magazine cover, of Judy Garland during the filming of “A Star is Born” exemplified his special talent. For other subjects thereafter, it was easy to trust a photographer who had the endorsement of Warner Bros., Judy Garland, and LIFE Magazine. They all trusted him and he came through, thus, communicating to potential subjects that you can trust he will make them look great and memorable. In the movie business, this is what matters most.

Sydney Pollack wrote in the introduction to Willoughby’s 2003 autobiography: “Sometimes a film-maker gets a look at a photograph taken on his own set and sees the ‘soul’ of his film in one still photograph. It’s rare, but it happens. It happened to me in 1969, the first time I looked at the work of Bob Willoughby during the filming of They Shoot Horses, Don’t They?.” What do you think was Bob’s secret in his ability to capture the entire essence of a film in a photograph?
Bob’s secret was his talent, experience, and curiosity. When he worked on a film, he was there every day. He probably read the script beforehand. I think, during the filmmaking process he recognized the moments that were most meaningful to the overall story. In a sense, he was editing—in his head—what he was seeing being filmed. Because of many takes, he had the opportunity to refine the essence of the film, which he was viewing being made. He was a smart observer and he recognized the soul of the story, like he could also identify the soul of his subjects.

Is there still interest in the Old Hollywood in the collecting world?
Yes, there is interest in collecting early Hollywood photographs. The best films live forever. The best actors and actresses also live forever. These subjects represent different ideas and thoughts people have. Their portraits are collectable also because they represent a time and place that we want to remember. People in the United States, Europe and Asia love old Hollywood films, and the actors that appeared in them, continue to be recognizable in photographs. The photography that came from the best Hollywood photographers has significantly influenced the style of later photographers from Edward Steichen to Helmut Newton, among many others.

Do you think this interest in the old Hollywood could also stem from the fact that the quality of stardom has been absolutely debased, and that, back then, stars were individuals? Now it’s like they come out of the same factory.
In the Golden Age of Hollywood, stars were primarily seen in the movies that were made and, occasionally, in a magazine profile. Today, there are many more platforms to disseminate entertainment and news, including entertainment news programs (devoted to the “real lives” of Hollywood stars “behind-the-scenes”). The audiences today can’t get enough information on their favorite stars. Access to this information is ubiquitous. Select stars today are hungry for exposure, and the competition is fierce. Their ever-present face seems like it is everywhere. The press agents and news agencies help with this process. Consequently, it appears like today’s stars are coming out of the same factory.

The smart personalities control their image – monitor how often their press is disseminated – and make sure their image appears in the most upper-end, influential media outlets (i.e. Vanity Fair, Oprah Winfrey etc.).

I think the right objective is to limit one’s exposure, like Bob Dylan, who you only hear about occasionally. When press and exposure does occur, it appears more interesting and appealing. The biggest stars really control their image.

The wild cards are the paparazzi and the exploitative fan magazines. These two factors can have a negative effect and need to be controlled as much as possible.

photo by Bob Willoughby, courtesy of The Fahey/Klein Gallery

Posted by classiq in Film, Interviews, One day that summer, Photography | | Leave a comment