By Christopher Gaida, Michael Aloisi
From Julia Roberts to Angelina Jolie or even Tom Hanks, Chris has escorted all of them down the purple carpet. regardless of the sinful connotations that the name "escort" has, a star escort is a certified activity that has given him ALL entry to Hollywood's such a lot particular occasions accompanying the most important stars together with Sandra Bullock, Fergie, Jennifer Aniston, Mariah Carey, Taylor rapid, Megan Fox, Courtney Love, Reese Witherspoon, Nicole Kidman, Pamela Ander- son, Queen Latifah, Susan Lucci, Betty White in addition to dozens of others. Arm sweet: a star Escort's stories From the crimson Carpet tells Chris's notable trip from a small city in Pennsylvania to NYC and at last Hollywood the place he has rubbed elbows with the world's greatest stars. From the crimson carpet to the fantastic after events, Chris finds what occurs while the cameras are grew to become off, stocks behind the curtain secrets and techniques, dishes the dust on what celebrities have behaved like divas, presents his coveted get together crashing information or even tells a heartfelt story a few famous person that encouraged Chris whereas he battled melanoma. Arm sweet is a e-book for an individual who loves glitz, glam, celebrities and the purple carpet! no matter if placing out within the dressing room on the Grammys, working misplaced via a on line casino with Cyndi Lauper or sneaking out the again door with Paris Hilton, Chris's task is often an event. Take a peek at what quite is going on behind the scenes and on the fringe of the crimson carpet from the view of Hollywood's final insider. you'll by no means examine Hollywood an analogous manner again...
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Extra resources for Arm Candy: A Celebrity Escort's Tales From The Red Carpet
And if we had said, “You know, you’ve got to call up the hospice nurses and get them over here,” we would have had nothing close to the truth. There’s this whole debate about whether the camera changes the reality. I think that’s overblown. If you’ve got the right film crew, I don’t feel like the camera really does affect the reality. And I feel very strongly that the crew can only be two people. You get a different kind of footage when it’s just a sound and camera team than you do if you have a director hopping behind doors to get out of the shot.
So the next election came up with Clinton, and several people came to us that year with different ideas of the same thing—watching the election—and none of them really followed through. J. Cutler—two aspiring filmmakers who had been working in theater and radio—walked in the door and said they wanted to do a film about his election.
Because they did not want to retrain anyone who’d been taught to write a script or think about using narration. In a way, the best person to come to Maysles is someone who just loves people or who is a psychology major—like Albert was a psychology major. The idea that you didn’t have any film training was very appealing to the Maysles, and I fit right in. I wanted to learn, and in those days, because it was still 16mm, thank God, you could really go into the back editing room. I remember learning how to sync up myself with the outtakes of Gimme Shelter.