I am shooting a Mountain Dew commercial!
So, I am a bit booked these days but promise to be back ASAP with my next article: PART III; LOST, Behind The Scenes.
Tuesday, April 28, 2009
Sunday, April 26, 2009
Lostpedia Blog: Lostpedia on Twitter
Lostpedia Blog: Lostpedia on Twitter
Visit leslieishiiblog.blogspot.com for behind the scene articles regarding shooting LOST and playing Lara Chang!
Visit leslieishiiblog.blogspot.com for behind the scene articles regarding shooting LOST and playing Lara Chang!
Wednesday, April 22, 2009
Desperate Housewives Reminder
Asian Woman on Desperate Housewives!
Keep your Tivo's set for Sunday, May 3rd, 2009
(Be sure to check your local listings for show time.)
The first week in May is a big one! Showings on Desperate Housewives and LOST!!
Guess who's "Asian Woman?" Yours truly!!
What do you think Asian Woman should do? Watch and find out!
Thank you for tuning in!
LOST Update!
"Follow The Leader," Episode #15 of LOST
Set your Tivo's for Wednesday, May 6th,2009
(Be sure to check your local listings for show time.)
As we near the end of the season and anticipate the finale, be sure to tune in to see what becomes of Lara Chang, Miles and Dr. Pierre Chang!
What do you predict now?
There is wind of a special program that will possibly include some Lara Chang footage with Miles and will be a bonus along with the season finale!
Thank you for tuning in for Episode #13---stay tuned! It only gets more interesting!!
LOST Update
"Follow The Leader," Episode #15 of LOST Set your Tivo's for Wednesday, May 6th,2009
Be sure to check your local listings for show time.
As we near the end of the season and anticipate the season finale, be sure to tune in to see what becomes of Lara Chang, Miles and Dr. Pierre Chang!
What do you predict now?
There is wind of a special program that will possibly include some Lara Chang footage with Miles and will be a bonus along with the season finale!
Thank you for tuning in for Episode #13---stay tuned! It only gets better!!
Be sure to check your local listings for show time.
As we near the end of the season and anticipate the season finale, be sure to tune in to see what becomes of Lara Chang, Miles and Dr. Pierre Chang!
What do you predict now?
There is wind of a special program that will possibly include some Lara Chang footage with Miles and will be a bonus along with the season finale!
Thank you for tuning in for Episode #13---stay tuned! It only gets better!!
Tuesday, April 21, 2009
PART II: LOST, Behind The Scenes
Thank you for returning to learn more about the process that was going on behind the scenes of Episode #13, "Some Like It Hoth." We left off with me having just gotten the script and heading into a make-up and hair test session.
The make-up and hair/wig test was an interesting journey in itself. First, I sat in the chair as the Master Hair Department Head, Doreen Schultz Marchetti, and her assistant, Debra Rego, worked to wet my hair and put a kind of laquer in it to get it as flat against my head as possible. It required some elbow grease. Once all the hair was contained and as flat against my head as humanly possible, a skull cap/skin was carefully applied. I looked like Veeger from the past Star Trek movie.
Then, the Master Make-up Department Head, Steve LaPorte, began to utilize a range of color to stiple my head/skull cap to make it appear like the skull of ill Lara Chang. After this step was completed, the very delicate process of applying the wig was next. Adhesive solutions were tried to find the right combination so the wig wouldn't pucker or gap. The reaction of the skull cap material was also monitored to make sure it could endure the adhesive solutions. The wig itself, strands of a range of black, white and gray hair woven into fine netting, needed to fit against and adhere to the skull cap very smoothly to appear as though it is of my own head/scalp.
Fine instruments similar to dental tools were used to smooth and fit the wig to the skull cap. Finally, adhesive was used to tack down the wig netting around the edges of where my hair line ends around my face and the back of my neck. During this time, Doreen and Steve were discussing this delicate process and the very careful/respectful handling of the wig and skull cap. They also speculated regarding my position in the bed. Will the wig bunch up against the pillows I might be propped up with? They considered every angle and how to maintain the adhesive and wig positioning on my head given the possible hours of shooting we might experience. Considering lights and the Hawaii weather, they talked about what persiration will do to the adhesive and the wig. It is a known possibility that a reservoir of moisture could build up and not be allowed to escape because of the laquer and the very close fit of the skull cap and wig. Steve and Doreen discussed all of the possible scenarios they would need to be aware of and prepared for so the shoot would go smoothly and with as little delay as possible if a challenge should arise.
Then, Steve began to create the facial look of the make-up. He applied various darker shading around the eyes and in the hollows of my cheek bones. He stipled on layers of colors that gave my skin a sallow and rutty look. A whole range of sizes of brushes were also used to apply the make-up. He also created an interesting look with my eyebrows. He utilized a material that would block out parts of my brows to give the look of lost hair there as well. He mentioned that he was creating this look in contrast to how I would look in the 1980's scenes when I am looking for the apartment with young Miles. He knew he would make me up with fuller eye brows and wonderful 80's frosty colored make-up that would directly contrast the ill look of Lara Chang later. The layering and detail was phenomenal. I was a blank canvas that became the ill Lara Chang right before my eyes.
Right as we finished almost five hours later, the director, Jack Bender, came into the make-up and hair trailor and sat down in the chair next to me. I met him and said, "Nice to meet you. It's not a great first impression is it?" He laughed. Steve, Doreen, and Jack talked about any adjustments needed to the make-up. Jack asked about some of the shading and Steve shared his research and thinking about his choices. They agreed quite easily on very minor adjustments given the time of day and lighting that was anticipated. The next concern was the amount of time it would take to recreate all of this the next morning. Steve and Doreen assured Jack that they could cut the prep time down to 2 1/2 - 3 hours. They were already considering where they could streamline the process and colors and instruments and materials were already being prepped for the next day.
Jack Bender asked me what I thought and how I felt. I asked a couple of questions about the script and he answered them very succinctly providing the clarity I needed. I expressed my gratitude for this process. I shared with him that I wasn't expecting this journey. I was expecting to get in the chair the next morning cold and not have any lead time to incorporate the look , the script/text with Lara's condition. I told him I love mask work and this was like getting to see the mask develop and appear right before my eyes. To have had nearly five hours to keep looking at the mask and to read the script and begin to memorize lines as this process was unfolding was a real gift and first rate collaboration. Steve and Doreen were surprised I wanted to watch the process so closely. Often actors fall asleep and rest or even want to get up often and walk around. I think needing to learn this character very quickly and all that she would be going through in the shoot the next morning kept me in the chair and compelled to watch every step of the creative process.
Slowly and carefully, Steve and Doreen each reversed the process with solvents to get me out of the make-up, wig and skull cap. Great respect was taken to care for the wig and skull cap so as not to stretch them out of the shapes that Victoria Mudd so beautifully fitted and sculpted. I am given a solvent to get the laquer out of my hair and then I am driven back to the hotel. I still have more work to do.
After dinner, I began to utilize the Catherine Fitzmaurice Voicework Method of destructuring and restructuring to really learn my lines and the character's condition and circumstances at a deeper level. I want to get as far as I could that night to discover how I might bring my process from an intellectual one of memorizing lines to dropping into the body so I can embody the role of Lara Chang. Eventually, I did go to sleep but set my alarm to get up in time to utilize the Fitzmaurice Voicework Method to warm up my voice and body and continue my process of discovery with my character, Lara Chang.
Revisit this blog to read PART III and find out how the shoot went!
The make-up and hair/wig test was an interesting journey in itself. First, I sat in the chair as the Master Hair Department Head, Doreen Schultz Marchetti, and her assistant, Debra Rego, worked to wet my hair and put a kind of laquer in it to get it as flat against my head as possible. It required some elbow grease. Once all the hair was contained and as flat against my head as humanly possible, a skull cap/skin was carefully applied. I looked like Veeger from the past Star Trek movie.
Then, the Master Make-up Department Head, Steve LaPorte, began to utilize a range of color to stiple my head/skull cap to make it appear like the skull of ill Lara Chang. After this step was completed, the very delicate process of applying the wig was next. Adhesive solutions were tried to find the right combination so the wig wouldn't pucker or gap. The reaction of the skull cap material was also monitored to make sure it could endure the adhesive solutions. The wig itself, strands of a range of black, white and gray hair woven into fine netting, needed to fit against and adhere to the skull cap very smoothly to appear as though it is of my own head/scalp.
Fine instruments similar to dental tools were used to smooth and fit the wig to the skull cap. Finally, adhesive was used to tack down the wig netting around the edges of where my hair line ends around my face and the back of my neck. During this time, Doreen and Steve were discussing this delicate process and the very careful/respectful handling of the wig and skull cap. They also speculated regarding my position in the bed. Will the wig bunch up against the pillows I might be propped up with? They considered every angle and how to maintain the adhesive and wig positioning on my head given the possible hours of shooting we might experience. Considering lights and the Hawaii weather, they talked about what persiration will do to the adhesive and the wig. It is a known possibility that a reservoir of moisture could build up and not be allowed to escape because of the laquer and the very close fit of the skull cap and wig. Steve and Doreen discussed all of the possible scenarios they would need to be aware of and prepared for so the shoot would go smoothly and with as little delay as possible if a challenge should arise.
Then, Steve began to create the facial look of the make-up. He applied various darker shading around the eyes and in the hollows of my cheek bones. He stipled on layers of colors that gave my skin a sallow and rutty look. A whole range of sizes of brushes were also used to apply the make-up. He also created an interesting look with my eyebrows. He utilized a material that would block out parts of my brows to give the look of lost hair there as well. He mentioned that he was creating this look in contrast to how I would look in the 1980's scenes when I am looking for the apartment with young Miles. He knew he would make me up with fuller eye brows and wonderful 80's frosty colored make-up that would directly contrast the ill look of Lara Chang later. The layering and detail was phenomenal. I was a blank canvas that became the ill Lara Chang right before my eyes.
Right as we finished almost five hours later, the director, Jack Bender, came into the make-up and hair trailor and sat down in the chair next to me. I met him and said, "Nice to meet you. It's not a great first impression is it?" He laughed. Steve, Doreen, and Jack talked about any adjustments needed to the make-up. Jack asked about some of the shading and Steve shared his research and thinking about his choices. They agreed quite easily on very minor adjustments given the time of day and lighting that was anticipated. The next concern was the amount of time it would take to recreate all of this the next morning. Steve and Doreen assured Jack that they could cut the prep time down to 2 1/2 - 3 hours. They were already considering where they could streamline the process and colors and instruments and materials were already being prepped for the next day.
Jack Bender asked me what I thought and how I felt. I asked a couple of questions about the script and he answered them very succinctly providing the clarity I needed. I expressed my gratitude for this process. I shared with him that I wasn't expecting this journey. I was expecting to get in the chair the next morning cold and not have any lead time to incorporate the look , the script/text with Lara's condition. I told him I love mask work and this was like getting to see the mask develop and appear right before my eyes. To have had nearly five hours to keep looking at the mask and to read the script and begin to memorize lines as this process was unfolding was a real gift and first rate collaboration. Steve and Doreen were surprised I wanted to watch the process so closely. Often actors fall asleep and rest or even want to get up often and walk around. I think needing to learn this character very quickly and all that she would be going through in the shoot the next morning kept me in the chair and compelled to watch every step of the creative process.
Slowly and carefully, Steve and Doreen each reversed the process with solvents to get me out of the make-up, wig and skull cap. Great respect was taken to care for the wig and skull cap so as not to stretch them out of the shapes that Victoria Mudd so beautifully fitted and sculpted. I am given a solvent to get the laquer out of my hair and then I am driven back to the hotel. I still have more work to do.
After dinner, I began to utilize the Catherine Fitzmaurice Voicework Method of destructuring and restructuring to really learn my lines and the character's condition and circumstances at a deeper level. I want to get as far as I could that night to discover how I might bring my process from an intellectual one of memorizing lines to dropping into the body so I can embody the role of Lara Chang. Eventually, I did go to sleep but set my alarm to get up in time to utilize the Fitzmaurice Voicework Method to warm up my voice and body and continue my process of discovery with my character, Lara Chang.
Revisit this blog to read PART III and find out how the shoot went!
Thursday, April 16, 2009
Part I: LOST, Behind The Scenes
Thank you to all who tuned in or Tivo'ed last night's 13th Episode of LOST!!
Is it what you were predicting? Comment and let me know!
I am awaiting clearance from the LOST Publicity Department so I can post some photos from behind the scenes regarding this #13th Episode, "Some Like It Hoth."
PART I
I can share with you now that it was an incredible journey that started with a phone call on a Friday evening and then Wig Master, Victoria Mudd arriving at my house the next morning to measure and fit my head for the wig that was used in this episode.
Victoria is like Mary Poppins when she arrives. She is magical and carries with her a bag that might as well be Mary Poppin's carpet bag. She reaches in and takes out all of the supplies needed to create a temporary wig cap. She is very fast and efficient. My husband, Wes and I, really relished this time with Victoria. We spoke about the art of stage craft, wig making and makeup and how critical these areas are to creating and telling the stories we all enjoy. Wes shared photos of his latest make up and hair pieces he utilized as Scrooge in "A Christmas Carol" at Portland Center Stage. He and Victoria spoke about their experiences ventilating hair pieces, which is the art of weaving hair into the netting that becomes the wig, beard, side burns, or perhaps a moustache.
Victoria is a very accomplished Wig maker who has worked throughout the Repertory Theater circuit and in Hollywood on many television shows and big budget films. She shared a story of working on Lemony Snicket with Erwin H. Kupitz, the best wig maker walking the planet today in her opinion. Interesting enough, Mr. Kupitz is often uncredited. Hmmm....
So fanatastic to be working with artists who are at the top of their game and so expert at their craft. I learn from every craftsman/woman I am in contact with. I have such respect for each one of these artists.
AND this was only the start of this incredible journey. Within days, my Fitzmaurice certification training was cut short as I was flown to Honolulu, HI with no script in hand. (Thank you again, Catherine Fitzmaurice and Saul Kotzubei, for this flexibility!) I was on the first flight out and arrived around 1pm. I was met at the airport and driven directly to the studios where the shooting scripts were being collated right before my eyes. I sat on a love seat in the offices reading my hot-off-the-press script and then was told I would be going into a makeup and hair test session for what turned out to be the rest of the afternoon.
I just received the script that day, am heading into the makeup and hair test session and learn that my call time for the next morning will be a 5am pick up! How wil I learn this part in time?!
Revisit this blog soon for PART II of this story!
Again, I am awaiting clearance from the LOST publicist to post the photos. Thank you for your patience!
More very soon!
Leslie
LOST
Thank you to all who tuned in or Tivo'ed last night's LOST Episode!!
Is it what you were predicting? Comment and let me know!
I am awaiting clearance from the LOST Publicity Department so I can post some photos from behind the scenes regarding this #13th Episode, "Some Like It Hoth."
PART I
I can share with you now that it was an incredible journey that started with a phone call on a Friday evening and then Wig Master, Victoria Mudd arriving at my house the next morning to measure and fit my head for the wig that was used in this episode.
Victoria is like Mary Poppins when she arrives. She is magical and carries with her a bag that might as well be Mary Poppin's carpet bag. She reaches in and takes out all of the supplies needed to create a temporary wig cap. She is very fast and efficient. My husband, Wes and I, really relished this time with Victoria. We spoke about the art of stage craft, wig making and makeup and how critical these areas are to creating and telling the stories we all enjoy. Wes shared photos of his latest make up and hair pieces he utilized as Scrooge in "A Christmas Carol" at Portland Center Stage. He and Victoria spoke about their experiences ventilating hair pieces, which is the art of weaving hair into the netting that becomes the wig, beard, side burns, or perhaps a moustache.
Victoria is a very accomplished Wig maker who has worked throughout the Repertory Theater circuit and in Hollywood on many television shows and big budget films. She shared a story of working on Lemony Snicket with Erwin H. Kupitz, the best wig maker walking the planet today in her opinion. Interesting enough, Mr. Kupitz is often uncredited. Hmmm....
So fanatastic to be working with artists who are at the top of their game and so expert at their craft. I learn from every craftsman/woman I am in contact with. I have such respect for each one of these artists.
AND this was only the start of this incredible journey. Within days, my Fitzmaurice certification training was cut short as I was flown to Honolulu, HI with no script in hand. (Thank you again, Catherine Fitzmaurice and Saul Kotzubei, for this flexibility!) I was on the first flight out and arrived around 1pm. I was met at the airport and driven directly to the studios where the shooting scripts were being collated right before my eyes. I sat on a love seat in the offices reading my "hot-off-the-press script and then was told I would be going into a makeup and hair test session for what turned out to be the rest of the afternoon.
Revisit this blog soon for PART II of this story!
I am looking to have behind the scenes photos from the makeup and hair test session. Again, I am awaiting clearance from the LOST publicist to post the photos. Thank you for your patience!
More very soon! Leslie
Thursday, April 9, 2009
LOST
At last, set your Tivo's for LOST
Wednesday, April 15, 2009
Check out Episode #513, "Some Like It Hoth." Be sure to check your local television listings for show time!
Who am I? When did you see me before? Which episode? Did you predict correctly?
I want to know!
Be sure to write your comments following the episode and click through to ABC.com if you need to catch up on episodes.
Look for photos and behind the scenes stories of shooting this episode after the airing!
Thank you for tuning in and I look forward to your comments! Blog away!
DESPERATE HOUSEWIVES
Again, set your Tivo's for Desperate Housewives!
Sunday evening, May 3, 2009
Look for "Asian Woman" in Episode #521, "Bargaining!"
Look for my behind the scenes "tell-all" after the episode airs!
I want to know if you think "Asian Woman" should strike back!
If you need to catch up, be sure to click through on ABC.com to catch up on past episodes!
Also, be sure to check your local television listings for show time!
Thank you for tuning in and looking forward to reading your comments!
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