A costume designer is a person who designs costumes for a film, stage production or television. The role of the costume designer is to create the characters' outfits/costumes and balance the scenes with texture and colour, etc; the costume designer works alongside the director, lighting designer, sound designer, other creative personnel. The costume designer may collaborate with hair stylist, wig master, or makeup artist. In European theatre, the role is different, as the theatre designer designs both costume and scenic elements. Designers seek to enhance a character's personality, to create an evolving plot of colour, changing social status, or period through the visual design of garments and accessories, they may enhance the body -- within the boundaries of the director's vision. The designer must ensure; the actor must execute the director's blocking of the production without damaging the garments. Garments must be durable and washable for plays with extended runs or films with near-real time pacing but whose principal photography phase may stretch across several weeks.
The designer must consult not only with the director, but the set and lighting designers to ensure that all elements of the overall production design work together. The designer must possess strong artistic capabilities and a thorough knowledge of pattern development, drafting and fashion history; the designer must understand historical costuming, the movement style and poise that period dress may require. During the late-19th century, company managers in the US selected costumes for a show. Many were pulled from a rental house. Though designers in other theatrical disciplines were recognized, few who specialized in costumes were; the few that were included Caroline Siedle, C. Wilhelm, Percy Anderson, Mrs. John Alexander, they sometimes received credit on the title page of a playbill rather than in the back. In the 20th century, film costume designers like Edith Head and Adrian became well known; those working in television like Nolan Miller, Janie Bryant, Patricia Field became more prominent, some becoming authors and having their own clothing and jewelry lines.
Professional costume designers fall into three types: freelance and academic. Freelance designers are hired for a specific production by a theatre, dance or opera company, may or may not be local to the theatre they design for. A freelancer is traditionally paid in three instalments: Upon hire, on delivery of final renderings, opening night of the production. Freelancers are not obligated to any exclusivity in what projects they work on, may design for several productions concurrently. A residential designer is hired by a specific theatre, dance or opera company for an extended series of productions; this may be for many years. A residential designer's contract may limit the amounts of freelance work they are allowed to accept. Unlike the freelancer, a residential designer is "on location" at the theater—at hand to work with costume studio and other collaborators. Residential designers tend to be more established than strict freelancers, but this is not always the case. An academic designer is one.
The designer is an instructor, but may act as a residential designer to varying degrees. They are free to freelance, as their schedule allows. In the past, professors of costume design were experienced professionals that may or may not have had formal post-graduate education, but it has now become common to require a professor to have at least a Master of Fine Arts in order to teach. Both residential and academic designers are also required to act as Shop Master or Mistress of an onsite costume shop, in addition to designing productions. In a resident theatre, there is always a shop staff of stitchers, drapers and craft artisans. In an academic environment the shop "staff" is students, who are learning about costume design and construction. Most universities require costume design students to work a specified number of hours in the shop as part of their course work. There are two unions that costume designers can belong to: Costume Designers Guild, Local 892 is one union that represents Costume Designers, as well as International Alliance of Theatrical Stage Employees and United Scenic Artists.
Many costumers belong to the Motion Picture Costumers Union, Local 705 and represent every position within the costume department. Local 705 represents Costume Supervisors, Key Costumers, Tailor/Seamstress, Ager/Dyer, Cutter/Fitters, Costume House Employees and Commercial Costumers. Costume design Filmmaking List of film formats List of motion picture-related topics Costume Designers Guild
G. P. Putnam's Sons
G. P. Putnam's Sons is an American book publisher based in New York. Since 1996, it has been an imprint of the Penguin Group; the company began as Wiley & Putnam with the 1838 partnership between George Palmer Putnam and John Wiley, whose father had founded his own company in 1807. In 1841, Putnam went to London where he set up a branch office, the first American company to do so. In 1848, he returned to New York, where he dissolved the partnership with John Wiley and established G. Putnam Broadway, publishing a variety of works including quality illustrated books. Wiley began John Wiley, still an independent publisher to the present day. In 1853, G. P. Putnam & Co. started Putnam’s Magazine with Charles Frederick Briggs as its editor. On George Palmer Putnam’s death in 1872, his sons George H. John and Irving inherited the business and the firm's name was changed to G. P. Putnam's Sons. Son George H. Putnam became president of a position he held for the next fifty-two years. In 1874, the company established its own book printing and manufacturing office, set up by John Putnam and operating out of newly leased premises at 182 Fifth Avenue.
This printing side of the business became a separate division called the Knickerbocker Press, was relocated in 1889 to the Knickerbocker Press Building, built for the press in New Rochelle, New York. On the death of George H. Putnam in 1930, the various Putnam heirs voted to merge the firm with Minton, Balch & Co. who became the majority stockholders. George Palmer Putnam's grandson, George P. Putnam, left the firm at that time. Melville Minton, the partner and sales manager of Minton Balch & Co. became acting president and majority stockholder of the firm until his death in 1956. In 1936, Putnam acquired the publisher Coward-McCann, ran it as an imprint into the 1980s. Upon Melville Minton's death, his son Walter J. Minton took control of the company. In 1965, G. P. Putnam's Sons acquired a mass market paperback publishing house. MCA bought Putnam Publishing Group and Berkley Publishing Group in 1975. Phyllis E. Grann, running Pocket Books for Simon & Schuster was brought on board in 1976 as editor-in-chief.
Grann worked with MCA executive Stanley Newman on a financial model to make Putnam profitable. This model emphasized publishing key authors annually and took Putnam from $10 million in revenue to over $100 million by 1983. While keeping the list at 75 titles a year, Putnam focused on winners like Tom Clancy whose book Red Storm Rising sold nearly a million copies in 1986. Putnam along with other publishers in the 1980s moved to a heavy discount hardcover model to keep up with demand and sales through bookstore chains and price clubs. Phyllis Grann was promoted to CEO of Putnam in 1987 becoming the first woman to be CEO of a major publishing house. By 1993, the publisher was making $200 million in revenue. In 1982, Putnam acquired Grosset & Dunlap from Filmways. In 1982, Putnam acquired the book publishing division of Playboy Enterprises, which included Seaview Books. In the 1990s ownership of Putnam changed a number of times. MCA was bought by Matsushita Electric in 1990; the Seagram Company acquired 80% of MCA from Matsushita and shortly thereafter Seagram changed the name of the company to Universal Studios, Inc.
The new owners had no interest in publishing, but Phyllis Grann stepped in and was able to broker the deal for Putnam to be merged with Penguin Group in 1996, a division of British publishing conglomerate, Pearson PLC Putnam and the Penguin Group formed Penguin Putnam Inc. In 2001, Grann abruptly left after speculation over tensions with Pearson CEO Marjorie Scardino. In 2013, Penguin merged with Bertelsmann's Random House. Books in the United States About Putnam at Penguin Group
Stage management is a broad field, defined as the practice of organization and coordination of an event or theatrical production. Stage management may encompass a variety of activities including the overseeing of the rehearsal process and coordinating communications among various production teams and personnel. Stage management requires a general understanding of all aspects of production and offers organisational support to ensure the process runs smoothly and efficiently. A stage manager is an individual who has overall responsibility for stage management and the smooth execution of a theatrical production. Stage management may be performed by an individual in small productions, while larger productions employ a stage management team consisting of a head stage manager, or production stage manager, one or more assistant stage managers; the title of Stage Manager was not used until the 18th century. Though the concept and need for someone to fill the area of stage management can be seen with the Ancient Greeks.
The playwrights were responsible for production elements. Sophocles is the first known stage technician, supported by his employment as a scenic artist, playwright and producer. Moving into the Middle Ages there is evidence of a Conducteurs De Secrets, who oversaw collecting money at the door and serving as a prompter on stage; the prompter held the script and was prepared to feed performers their lines, this was a common practice of the time. Between the Renaissance and 17th century the actors and playwright handled stage management aspects and stage crew. During the Elizabethan and Jacobean Theatre there were two roles that covered the stage management: Stage Keeper and Book Keeper; the Stage Keeper was responsible for the maintenance of the theater, taking props on and off stage, security of performance space. The Book Keeper was responsible for the stage script, obtaining necessary licenses, copying/providing lines for the performers, marking entrances and exits, tracking props, marking when sound effects come in, cueing props and sound effects.
Between the Renaissance and the 16th century and playwrights took upon themselves the handling of finances, general directorial duties, stage management. Stage management first emerged as a distinct role in the 17th century during Shakespeare's and Molière's time. During Shakespeare’s time the roles of stage management were left to apprentices, young boys learning the trade. There is still evidence of a prompter at this time. Though it wasn't until the 18th century in England that the term Stage Manager was used; this was the first time a person other than actors and playwright was hired to direct or manage the stage. Over time, with the rise in complexity of theatre due to advances such as mechanized scenery, quick costume changes, controlled lighting, the stage manager's job was split into two positions—director and stage manager. Many playwrights and actors have worked as an assistant stage manager. Writer and director Preston Sturges, for example, was employed as an ASM on Isadora Duncan's production of Oedipus Rex at the age of 16 and a half: When one is responsible for giving an offstage cue the simplest ones, like the ring of a telephone or a birdcall, demand considerable sangfroid, the job is nervewracking.
One is much aware that everything depends on the delivery of the cue at the right microsecond. One stands there, knees bent, breathing heavily... Sturges didn't last long in this job, due to his calling for thunder and lightning instead of lightning and thunder, but 16 years Brock Pemberton hired him as an ASM on Antoinette Perry's production of Goin' Home, which led to the first mounting of one of Sturges' plays on Broadway, The Guinea Pig, in 1929. Pre-Rehearsal Preparation: Create a contact sheet with information on everyone in the production Collect all conflicts to create a Rehearsal Schedule Send out that Rehearsal Schedule to the actors and creative team Knowing the rehearsal and stage layout Understanding the ground plan of the set Should acquire all rehearsal props that are needed in rehearsals First Rehearsal Have the actors fill out emergency contact forms and other information needed by the production team Assigning scripts to everyone in the production Make detailed notes on the blocking of the production Make sure the production team members who need to explain the set, actors equity association reps, directors concept, more First read through of show SM reads the stage directions Responsible for the wellbeing & safety of everyone and should have basic first aid kit at all rehearsals Rehearsal Period Responsible for any questions or changes the director thinks of during rehearsal to bring up during Production Meetings SM’s are responsible for following along the script, prompting when actors forget their lines and taking line notes Monitor time to make sure company get their breaks at specific intervals Noting any changes or edits to the script Responsible for creating the running script that includes tech cues that are used by the SM Writing daily rehearsal reports that detail what happened in rehearsal that day and what notes, if any, the Sm/director have for the production team.
Distributing distribute it to all production team members Collecting the bios for the actors and production team for the show’s programs Responsible for contacting anyone, running late to rehearsal without notifying the SM Most rehearsals are closed, meaning no one outside of the production is welcome, it is the SM’s job to enforce this Creating a callboard for the actors to sign in during tech rehearsals and performance Creating cue sheets for everyone taking cues from the SM during the show (Sound makes it own
Bill Macy is an American actor. Born in Revere, Massachusetts to Mollie and Michael Garber, a manufacturer, he was raised in Brooklyn, New York, worked as a cab driver before pursuing an acting career. Macy played Walter Findlay, the long-suffering husband of the title character on the 1970s television situation comedy Maude, starring Beatrice Arthur, he has made more than 70 appearances on television. He appeared as the Jury Foreman in The Producers in 1967. Other memorable roles include the co-inventor of the'Opti-grab' in the 1979 Steve Martin comedy The Jerk, as the head television writer in My Favorite Year, his other film credits include roles in Death at Love House, The Late Show, Movers & Shakers, Bad Medicine, Tales from the Darkside, Sibling Rivalry, The Doctor, Me, Myself and I, Analyze This, Surviving Christmas, The Holiday, Mr. Woodcock. In 1986, Macy was a guest on the fourth episode of L. A. Law, playing an older man whose young wife wants a music career. Macy appeared in the popular television movie Perry Mason and The Case Of The Murdered Madame as banker Richard Wilson.
He appeared on Seinfeld as one of the residents of the Florida retirement community where Jerry Seinfeld's parents lived. He appeared on the short-lived Fox sitcom Back to You. Macy portrayed a demon in a guest appearance on Millennium. Macy made a guest appearance as a patient on Chicago Hope, as an aging gambler on the series Las Vegas. Macy was an original cast member of the long-running theatrical revue Oh! Calcutta!. Bill Macy on IMDb Bill Macy at the Internet Broadway Database Bill Macy at the Internet Off-Broadway Database
Donald Francis "Don" Draper is a fictional character and protagonist on the AMC television series Mad Men, portrayed by Jon Hamm. Up to the Season 3 finale, Draper was creative director of Manhattan advertising firm Sterling Cooper, he became a founding partner at a new firm, Sterling Cooper Draper Pryce, after he and his superiors left their previous agency in advance of an unwanted acquisition. The agency merged with a rival firm, Cutler Gleason & Chaough, to become Sterling Cooper & Partners while pursuing a contract from Chevrolet; the character of Don Draper is inspired by Draper Daniels, a creative director at Leo Burnett advertising agency in Chicago in the 1950s, who worked on the Marlboro Man campaign. Donald Francis Draper is revealed through flashbacks to be the assumed identity of Richard "Dick" Whitman, born in Illinois to a sex worker and an abusive, alcoholic farmer, Archibald "Archie" Whitman, his mother died in labor, his father was killed from a kick by a spooked horse, an accident a 10-year-old Dick witnessed.
Dick was raised by Archie's wife Abigail, physically and abusive to him. She had a son named Adam, Dick's half-brother; the one person to show him any kindness as a child was "Uncle Mac," who taught him how to survive in the real world. Mac was "with" Abigail's sister and ran the brothel where Dick and Adam grew up after leaving the family farm. During this period of his life, he began to suffer from croup and was left under the care of a prostitute named Aimee, she took his virginity in a way that Weiner stated concerned "His relationship to sex and molestation" and reviewer Abigail Rine described more directly as rape. Whitman never finishes high school, in his early 20s he runs away to enlist in the United States Army during the Korean War. Once deployed, he serves under the command of Lieutenant Donald Francis Draper, a combat engineer under orders to build a field hospital with only Private Whitman and shovels to assist him. During an enemy artillery attack Whitman causes an explosion by accident, killing Lieutenant Draper instantly.
A wounded Whitman switches Draper's dog tags with his own before passing out. He awakens in a U. S. Army field hospital, presumed to be Lieutenant Draper, is awarded the Purple Heart, he is sent home on a train with Lieutenant Draper's coffin to offer the Army's regrets to Whitman's survivors. He avoids meeting the Whitmans at the train station but is spotted by Adam, whose parents fail to recognize him. Years Adam tracks his half-brother down in New York, but "Draper" insists on leaving the past behind and coldly rejects him driving Adam to commit suicide. Whitman begins his life anew as Don Draper. Anna M. Draper, widow of the real Don Draper, tracks him down, he confesses to his masquerade. The two form a close bond. Anna remains a supportive figure and confidante until her death from bone cancer in 1965; the new Don Draper relocates to New York City, where he works as a fur salesman and attends City College at night. It is at this job that he meets his future wife, Betty, a model who does a photo shoot for the company.
He tricks a drunken Roger Sterling into offering him a job at Sterling Cooper, becomes its Creative Director. He is considered a major asset to the company, as he has considerable talent for understanding the desires of others and for pitching and selling ideas; because of this, he is courted by other advertising firms. Although his true character remains mysterious and guarded everyone at the firm is portrayed as respecting his talent. At the same time, many in the firm are troubled by Draper's erratic behavior. Peggy Olson begins her career at Sterling Cooper as Draper's secretary, but with her boss' support she becomes a copywriter. Throughout the series their relationship is portrayed as one of trust and mutual respect as Peggy advances in her career and leaves the firm. Draper and Elizabeth "Betty" Hofstadt are married in May 1953, move into a house with an address shown as 42 Bullet Park Road, Ossining in Westchester County, New York; the marriage is a rocky one and Draper becomes engaged in numerous affairs.
They file for divorce in 1964 after Betty discovers his true identity, she marries the Republican political operative Henry Francis. Don marries his secretary, Megan Calvet, after which they move to a stylish, Upper East Side apartment on Park Avenue. In December 1963 Draper convinces Bert Cooper, Roger Sterling, Lane Pryce, along with Peggy Olson, Pete Campbell, Joan Holloway, Harry Crane, to leave Sterling Cooper rather than take their chances when they learn their parent company is being purchased by rival firm, McCann Erickson, they form the agency Sterling Cooper Draper Pryce, working out of a hotel suite before moving to the Time-Life Building. Draper leads a merger with a rival agency. While the new agency is successful, at the end of Season 6, he is forced to take "a leave of absence" from the new firm because of his erratic behavior, which costs the firm a possible advertising account with Hershey Chocolate. Draper works as a freelancer for a year on SC&P's payroll. Megan has moved to Los Angeles to pursue her acting career, asks him for a divorce.
Feeling guilty over his past infidelities, Draper gives her a generous divorce settlement. SC&P allows him to come back on the condit
Margaret Anne Kirkpatrick is an Australian actress, best known for her portrayal of the character Joan Ferguson, a sinister and cold lesbian prison officer, nicknamed "The Freak", in the popular Australian television soap opera Prisoner. More she performed as Madame Morrible in an Australian production of the musical Wicked. Kirkpatrick has appeared in such popular series as Water Rats and Away and All Saints. Margaret Anne Downs was born in New South Wales, to James and Crissie Downs; when she was seven months old her father was killed while on active national service as a soldier in North Africa, leaving her mother to bring her up alone. Her mother married John Anderson and had a son, Adrian; the family moved to New South Wales, where Kirkpatrick grew up. She had had an interest in acting from an early age, appeared in several school plays. By November 1955 she became fed up with school and left, whereupon her mother sent her to drama lessons. In 1960, at the age of 19, Kirkpatrick took her first professional acting job, with theatre impresario John Alden's Shakespeare Company.
After this initial production she promptly gave up acting. Kirkpatrick subsequently took various jobs, working in dress shop, as a medical receptionist, compère of fashion parades, had jobs in bars and hotels. Downs married Norman Kirkpatrick, a merchant seaman of the Shankill Road in Belfast, in September 1963. Five years they moved to Sydney where Kirkpatrick decided to resume her acting career. After appearing in two plays she put her acting career on hold once again, this time due to the arrival of her daughter Caitlin. Kirkpatrick resumed theatre work as Caitlin got older, moved on to television and cinema. Kirkpatrick appeared in the music video for Anthem for the Year 2000 by rock band Silverchair, she is a strong supporter of gay rights, having made numerous appearances at "Fair Day" as part of the annual Sydney Gay and Lesbian Mardi Gras Festival. She has been awarded the Sydney Gay Community's DIVA award for her work. Kirkpatrick returned to TV in 2017 after a 9 year hiatus appearing in Australian TV mini-series'The Letdown' In July 2015, Kirkpatrick was charged with child sexual assault against a 13-year-old girl in the 1980s.
She denied the allegations and said she would fight to clear her name of the two counts of indecent assault and one count of gross indecency with a person under the age of 16. In a statement Kirkpatrick said, "Yes, allegations have been levelled at me. Are they true? Not." She was found guilty on 20 August. She was subsequently sentenced to an 18-month community corrections order, including 100 hours of community service. Kirkpatrick appealed the case and won, with Judge Geoffrey Chettle finding that there was reasonable doubt surrounding the circumstances, dismissing the conviction and charges. Maggie Kirkpatrick on IMDb