In the depths of COVID back in 2020 I had the luck of finding the Emmy-winning, Oscar-nominated costume designer Jean-Pierre Dorleac on social media. He was an funny, outrageous "shit poster", telling stories of his Hollywood past and his raw, unfiltered opinions of the various people he knew and worked with.
Most of all, Dorleac was the costume designer on the early-1990s show Quantum Leap which was, and remains, one of my favorite shows ever.
When I contacted Dorleac in those dark days to see if he would do an interview for Mr NYC, I was happily shocked when he agreed. And he gave a lively one for this little blog and for that I'm eternally grateful. Most of all, I was interested in how he costumed the Quantum Leap characters in different decades, especially bringing NYC to life in the 1950s, 60's and '70s.
Sadly Dorleac has passed away at the age of 83. He certainly had an interesting life and he made a great contribution to the culture. Heck, just the costumes he designed for Dean Stockwell on Quantum Leap were enough to burn him into legend!
The hottest thing in American popular culture today isn't superhero movies -- it's hours-long true crime podcasts, documentaries, and TV series.
In the last few years, tabloid scandals from the past about Jeffrey Dahmer, Andrew Cunan, Robert Chambers, OJ, and many others (more recently, the Menendez Brothers) have become massive hits in various multi-episode formats. And all of them seem to be about tabloid stories from the late 20th century.
But before the era of streaming and podcasts, where hours and hours could be devoted to telling these trashy tales, such stories would become network TV movies -- and instead of waiting years, these "ripped from the headlines" events became hastily-made, two-hour flicks.
One such story that, as far as I know, has yet to become a 21st-century multi-hour podcast/documentary/streaming series is about the June 1986 attack of Marla Hanson.
A Missouri-transplant and aspiring model, Marla Hanson was living in a Manhattan apartment, attending glamorous parties, pursuing romance, living the NYC dream, until one day her landlord, who was obsessed with her, slashed her face, ending her modeling dreams. It was a big, scary story about obsession, beauty, and the "face value" of human worth. Her attackers were eventually sentenced to prison, but not until she was, in her words, badly treated by the criminal justice system.
And this is why the 1991 TV-movie about the incident was called Face Value: The Marla Hanson Story.
This movie falls squarely into the now gone-and-forgotten sensationalist TV-movie with bad writing, bad acting, bad production values, and bad music. It's amazing to think anything this low-rent would get made today but, thirty-odd years ago, this was the stuff that millions of people watched when the big network TV hits went on hiatus.
There are, however, a few interesting things about this movie that make it worth watching (you can see the trailer and full movie below).
First, it's a real-NYC movie that, in its ways, captures the allure and danger of the late 20th century, pre-911 city.
Second, the cast.
Marla Hanson is played by an actress named Cheryl Pollack, who "had a moment" in the early 1990s. She was in the 1990 movie Pump Up the Volume, a memorable episode of Quantum Leap, and later on was on another show called The Heights. She continued to pop up in TV shows throughout the 1990s until, it appears, she left acting.
Marla's landlord/slasher was played by an odd-looking, odd-sounding actor named Kirk Baltz. And ironically, the very next year, he'd make movie history as the victim of a fictional slashing -- he's the guy who played the cop who memorably got his ear cut-off in Quentin Tarantino's directorial-debut Reservoir Dogs (while "Stuck in the Middle With You" played in the background). It must have been ironic for him to go, within a year or so, from playing a slasher in a totally forgettable TV movie to playing the most famous slashing victim in movie history -- and in a cinematic classic.
Then there's Marla's love interest. He's played by a very handsome actor named Dale Midkiff. His career caught fire in the 1980s when he played Elvis in a TV-mini-series, and then was in the 1989 hit movie Pet Semetary. But big screen stardom elluded him and it was back to TV. Not long after making this Marla Hanson TV movie, Dale starred in a very silly but massively entertaining show called Time Trax. It was about a cop from the year 2193 who is sent back in time to 1993 to find criminals who escaped from his time, hiding out the past, and sending them back to the future -- and justice. After Quantum Leap, it was my favorite time-travel show ever (although nowhere as good as QL), and he was really good in it. It only ran for two-years but it was fun to watch (interestingly, Time Trax premiered on January 20th, 1993, the same day that Bill Clinton became president).
As for Marla Hanson, after this horrible incident, she appears to have gone on and lived a nice quiet life. She married, had a child, worked briefly as a screenwirter, and seems to have had no interest in having a public profile in the almost 40-years after she was thrust into the headlines. And good for her!
These days the network TV movie seems to be a thing of the past. But this movie capture an era of TV, and NYC, that seems both far in the past and very familiar.
"Like sands through the hourglass, so are the days of our lives ..."
Thus spake Saint Augustine. Or an old soap opera. Either way time has been passing quickly lately because life has been quite hectic lately and blogging has gotten away from me lately -- until now!
But as I compose my first real post in over a month, the passage of time is very much on my mind -- and a couple recent events and remembrances have focused my mind on how people and things come and go, and either leave a lasting impression ... or don't.
First, a passing: the brilliant screenwriter and movie director Robert Towne recently died at the age of 89. He wrote and directed several films but the movie that catapulted him to cinematic greatness was his script for the 1974 classic Chinatown (which I've blogged about here several times). Besides being the most perfect screenplay ever written, Chinatown is also probably the best American movie ever made about the dark soul of a city and the forces that shape it. While it's about LA and not NYC, the movie has echoes of the real-life works of Robert Moses in NYC and how, to quote Chinatown, "he made this city." Towne understood the giant, secretive, menacing forces that surround and suffocate us, how cities are largely the products of deeply corrupt and powerful men, and how all of us are subject to their will and live within their warped creations. Hence the movie's iconic final line "Forget it, Jake, it's Chinatown." But we'll never forget Robert Towne, his great legacy, and what "makes" our city.
Second, another passing but one nowhere near as sad. As I've also blogged about several times, one of my favorite shows ever is the early 1990s sci-fic drama Quantum Leap -- about a brilliant scientist who travels back in time, "leaping" into the life of various people and "putting right where once went wrong," changing history "for the better." It had many great episodes, including several in NYC. A couple years ago it had a reboot that I had high hopes for -- only to see them dashed. The show was a mess. Instead of focusing on the humanity of the characters who were to be saved, it chose to be some kind of weird thriller with numerous and confusing storylines, too many poorly developed characters, and no real chemistry between the actors. It failed completely. Now it's been cancelled, put out of its misery, and hopefully it will be forgotten -- while the great original show will hopefully be remembered and rewatched for decades to come.
Third, it's hard to believe but it's been over a quarter of a century since Sex and the City first hit our airwaves. It's now become a part of NYC's culture and identity but, back in 1998, it was just a little show struggling to find an audience. The pilot was directed by Susan Seidelman who also made the funky 1982 NYC movie Smithereens which I reviewed back in 2017. In this recent big interview, Seidelman remembers the making of Smithereens, the S&TC pilot as well as her classic 1985 movie Desperately Seeking Susan. In many ways these movies and TV shows define late 20th-century NYC -- and Susan Seidelman's vision made them happen.
Fourth, an anniversary, a big one: WNYC radio is 100 years old! Yes, broadcasting in this town has existed for more than a century. Probably the most powerful public radio station in the country, WNYC has had a tremendous legacy -- and present day relevance -- to the life of this city. Besides going back and reading my numerous posts about WNYC, you can also listen to a history of the station here and also a recreation of the station's first July 8th, 1924 broadcast here.
All things and people pass, come and go -- but so much else lasts (like this blog!). And, for that, yours truly is truly grateful.
This summer I finally got around to seeing a movie that had been on my "When I get around to it" list for literally decades -- the original 1980 classic Fame.
The late great movie critic Robert Ebert wrote a review of Fame when it was originally released that is so good, so beautifully descriptive, that I'll quote part of it here (I certainly can't write anything better):
"Fame" is a genuine treasure, moving and entertaining, a movie that understands being a teen-ager as well as Breaking Away did, but studies its characters in a completely different milieu. It's the other side of the coin: A big-city, aggressive, cranked-up movie to play against the quieter traditions of Breaking Away's small Indiana college town. Fame is all New York City. It's populated by rich kids, ghetto kids, kids with real talent, and kids with mothers who think they have real talent. They all go into the hopper, into a high school of kids who are worked harder because they're "special" -- even if they're secretly not so sure they're so special.
Fame centers around a bunch of kids over their four years at the High School of the Performing Arts, otherwise known as "LaGuardia." On the one hand they are regular high school kids, blossoming teenagers with all the regular wants and fears and academic pressures, but, in addition to their studies, they are also training to become actors, dancers, and musicians. Drawn to the school from all walks of life, from across all five boroughs -- rich and poor, black and white, very talented to barely talented -- they work hard, dream hard, and experience numerous joys and heartbreaks. The movie centers around Montgomery, an actor and closeted homosexual; Lisa, a dancer who becomes an actor; Coco -- a dancer and singer; LeRoy, a dancer who is as troubled as he is talented; Ralph, an actor and aspiring comedian, along with Doris, a shy fellow actor who falls in love with him; Bruno, a brilliant musician; and Hillary, a wise-cracking dancer who falls in love with LeRoy. The movie does not have a simple, straightforward plot but, instead, shows a series of interlinking stories, following the characters as their lives change and evolve over their four years together.
Released in May 1980, Fame became a sensation, a surprise box office hit considering that it had no famous stars, no simple or traditional plot, and was about, of all things, a bunch of odd-looking teenagers at a performing arts high school in NYC. It came at a pivotal moment for both New York City and America: NYC was still recovering from its mid-1970s almost-bankruptcy, and was still plagued with its "Fear City" moniker; culturally, however, it was thriving -- "Saturday Night Live" was the hottest thing on TV, Woody Allen was at the height of his career, Studio 54 was raging, and Broadway had big shows like "A Chorus Line" and "Annie" running. And then here comes along this little gem of a movie about a bunch of ragtag NYC kids trying to make it through high school while starting a career in the arts -- and audiences loved it.
America, on the other hand, was changing -- Ronald Reagan and the triumph of cultural and economic conservative was months away, and the country seemed more than ready to rid itself of the tumult of the 1960s and '70s. Fame, in some ways, was a last hurrah of that era, a paean to a time that was troubled but also creatively alive and exciting, a celebration of the arts and artists, and a love letter to NYC, a city that the rest of the country loved to hate. It was an early middle-finger to the political and cultural world to come -- but also, ironically, the unofficial beginning of the 1980s teen movie crazy.
Even though the movie is called Fame, it could also have been called "Sweaty" -- the students literally sweat for their art (especially the dancers) as much as they are sweating about their futures of making it in showbusiness. There are many uncomfortable scenes where the characters face the limitations of their talents, their relationships, their aspirations, their place in this crazy world of the arts. While this movie is a celebration of the artistic spirit, it's not sentimental in any way -- it brutally shows you the grimy, often sleazy showbiz world these kids inhabit, without sugarcoating it.
In that way, it's a real NYC movie.
As you might imagine, Fame is full of amazing acting, dancing and music. There are beautiful scenes of dancers moving gracefully, of musicians giving their all to make the best sounds they're capable of, of actors trying to nail a scene, and also wonderful show-stopping songs. These include the Oscar-winning title song "Fame (I'm Gonna Live Forever)", "Out Here on My Own", "Hot Lunch", and the amazing final number "I Sing the Body Electric" that is performed in rousing spirit at graduation. Everyone in the whole movie sings, "And in time, and in time, we will all ... be ... stars!" Most of them, of course, will never become stars -- but they can and should always dream.
And that's what this movie is all about -- always dreaming, never giving up, even when the world tells you that you should.
Fame has had a surprising after-life since it came out over 42 years ago. In 1982, it became a TV show that ran for five years, with some of the movie's actors joining the show along with a whole new cast of characters and stories. In the late 1990s there was a second, short-running series called "Fame: LA" with all new characters and stories set on the West Coast. And then, in 2009, there was a remake called, unimaginatively, Fame that the critics hated but had some box office success (Kelsey Grammer was in it if you can believe it). Fame was a forerunner to other "I wanna be in showbusiness" projects like Smash or Glee or even The Marvelous Mrs Maisel. In seems, in this era of a million TV shows, like the Fame property or IP or whatever is just ripe for a comeback -- heck, if they can bring back Full House and Quantum Leap, why not Fame?
A few ironies about this movie and my review of it:
First, the director. Even though Fame is a down-and-dirty NYC movie, it was directed by a British guy -- Alan Parker -- whose previous film had been the intense, Oscar-winning, Turkish-set triller, Midnight Express. Fame was obviously a big change of pace, and he would go on to direct other arts-centric movies like The Commitments and other intense movies like Mississippi Burning. A great talent, he died in 2020.
Second, Irene Cara. Oh, how I loved her! I was already planning to write this review before I learned, just days ago, that Irene Cara who played Coco in "Fame" had died at the age of 63. She is amazing in this movie, and performs its most brutal, emotionally intense scene. She also sings most of the songs, luminously, and, if someone became a big star out of "Fame", it was her. Three years later she would win an Oscar and a Grammy for writing and singing the song "Flashdance ... What a Feeling!", easily the best dance pop song ever. She was an amazing talent whose career and life ended far too early -- but her songs will truly "live forever."
Third, and finally, my "history" (of sorts) with Antonia Franceschi, who plays the funny, horny, and super-talented dancer Hillary in Fame. Antonia was a young aspiring dancer at the School of American Ballet when she was cast in Fame and, interestingly enough, even though the movie became a huge hit, Antonia eschewed an acting career to spend the next twelve years as a dancer at the New York City Ballet before embarking on a long career as a choreographer. Very recently, I contacted her to see if she would do an interview for this blog but it didn't quite work out, even though she was very polite and informative in her replies.
But here is the plot twist (of sorts) that was promised ... drum roll ...
I've blogged about how, back in the mid-1980s, I appeared in "The Nutcracker" at the New York City Ballet. Well, I recently went back to look at one of the old programs I saved for my run in "The Nutcracker" and guess who appeared with me (and many others) in the opening party-scene -- that's right, Antonia Franceschi! So yours truly, Mr NYC, has performed on stage with a cast member from Fame! How cool is that?
Fame is truly a classic, a movie that may be decades old but that feels so fresh, so alive, so true-to-life that it never gets old, never gets boring, never feels outdated.
It's a must-watch for anyone whoever was young, whoever loved the arts, and whoever loved NYC.
This month, two totally unrelated but nonetheless interesting (to me) things on TV are happening:
1. The local cable news channel NY1 just turned 30 years old -- it first hit the air on September 8th, 1992 in a very different time and city. First something of a curiosity -- a 24/7 news station dedicated only to NYC news? -- it's become a beloved staple of city, a vital necessity to life for almost all New Yorkers. Here's what NY1 looked like in the early days:
2. If you've read this blog long enough you'll learn about some the of the music, movies, books, and TV shows that Mr NYC loves. One of them is the early 1990s show Quantum Leap about a time traveler who "leaps" into different lives between the 1950s and 1980s. The original brilliant series went off the air in 1993 but -- guess what? -- it's back! A reboot, more like a continuation, of the series debuts later this month and I'm eager to see it. I certainly hope it's good.
There were many episodes of Quantum Leap set in NYC and I've blogged about them. Also, a couple of years ago, I even interviewed the costumer designer of the original series who gave some great behind the scenes anecdotes of the show. You can read all the Mr NYC Quantum Leap coverage here.
In the summer of 2020, during the depths of COVID, one of the few bright spots of that dark time was interviewing Jean-Pierre Dorleac, a legendary Hollywood costumer designer. He worked on numerous movies and TV shows over the decades but easily one of the highlights of his career was as the costumer for the early 1990s TV show Quantum Leap.
Even though there are now a billion shows on TV and streaming, Quantum Leap remains one of my favorite shows ever. The story of Sam Beckett (Scott Bakula), a brilliant scientist who "leaps" into the lives of other people throughout his own lifetime (roughly 1953-1995), making right where once went wrong, was one of the most imaginative, best written, funny, and emotionally wrenching shows ever on TV. (He was accompanied on his journey by Al, a holographic sidekick appearing from the Imaging Chamber back in the future). Each week Sam leaped into the a new time and place, on a new mission -- and Jean-Pierre Dorleac was the costume design genius who had to dress the characters from different times and places each week, along with designing Al's funky 1990s costumes.
It was a wild, fascinating interview, and I'm grateful to this day that Jean-Pierre agreed to do this interview.
Well, whaddya know? Quantum Leap is back! A reboot pilot has been greenlit for NBC and show "leap" to our screens sometime later this year or next. I'm cautiously excited -- these reboots can be wonderful or a disaster. But it's exciting to know that Quantum Leap remains beloved almost 30 years since it left the air and that the interest exists to re-imagine it and bring it back. I hope it's great. Sadly, Dean Stockwell, who brilliantly played the sidekick Al, won't be a part of it because he passed away late last year.
Anyway, I hope you'll read my interview with Jean-Pierre and also sign the Change.org petition to bring him back as the costume designer for the reboot. His costumes on that show stood out and it would be great to see him apply his genius to the next generation of this show. You should also read the beautiful tribute that Jean-Pierre wrote about Dean Stockwell last year after his death.
The great character actor Dean Stockwell has died at the age of 85. His acting career spanned 70 years, starting as a child star in the studio era of the 1940s, spanning well into the 21st century. The height of his career, after his childhood, was in the 1980s and 1990s in classic films like Dune, Paris Texas, Blue Velvet, Married to the Mob (Oscar nomination) and To Live and Die in LA.
But his greatest role was as Al, the holographic sidekick, in the 1989-1993 sci-fi show Quantum Leap. His performance was so funny, so moving, so brilliant that he crafted one of the most unlikely and great characters in TV history.
Last year, in the doldrums of the pandemic, I interviewed Jean-Piere Dorleac, the talented costume designer for Quantum Leap who outfitted Dean Stockwell in all kinds of memorable garbs. You can read the interview and lots more about this great show here.
The brilliant, lovable character actor just died from cancer at the age of 57. For many, including yours truly, he will always been Standford from Sex and the City -- a real NYC icon.
But Willie had great range as an actor. In addition to numerous movies and other TV shows (including one that ran for a few years called White Collar), he appeared in two episodes of my favorite childhood show Quantum Leap -- one as a character named Seymour in an early episode set in NYC, and then another where he played Lee Harvey Oswald. His Oswald was an interesting one because Willia played Oswald "in the waiting room" set in the future, and he had to wear a white jump suit while being interrogated by Dean Stockwell. Great stuff!
Thirty-years ago the brilliant show Northern Exposure debuted on American television. Set in the bizarre small town of Cicely, Alaska, it featured an ecclectic group of characters and their odd-ball behavior, centered around a Jewish New York doctor forced to live and work there to pay off his medical school debts.
Northern Exposure was a forerunner, along with a lot of other great shows of the era (Twin Peaks, thirtysomething, Quantum Leap), to the now Golden Age of Television. The writing was brilliant, the acting was first rate, and in tone and attitude and perspective this show was as NYC as it gets -- even though it took place far, far away from here.
I blogged about this show on its 20th anniversary and now a young woman -- who only caught up with it two years ago and probably wasn't even alive when it was on TV -- writes about discovering and falling in love with this classic piece of Americana.
“Theorizing that one could time travel within his own lifetime … "
In the early 1990s, when I was a youngster, the Golden Age of Television had yet to arrive. There were no streaming shows and cable television didn't have many original (or good) shows then. The big networks still ruled absolutely. Hit shows were watched by twenty to thirty million people each week, and even lesser-rated shows got around ten million or so viewers. The audience sizes back then are unimaginable today. This was the era of LA Law, Doogie Howser, thirtysomething, Cheers, The Cosby Show, Growing Pains, Dallas, etc. -- shows about lawyers, doctors, cops, families, etc. which were mostly boring to me and my fellow adolescents. But there was one show that was a huge exception, standing out and shining brightly like a star, a show that my friends and I were utterly obsessed with – Quantum Leap. Quantum Leap was one part science fiction, one part history lesson of the second half of the twentieth-century, and one part buddy comedy. It’s about a brilliant scientist named Sam Beckett who, in the late 1990s, builds a time machine called Project Quantum Leap and finds himself “leaping” into the bodies and lives of different people at different places in the past. Sam is accompanied on his leaps by his friend from the future, Al – a cigar-chomping, quip-a-minute retired Navy man who appears as a hologram (Al steps into something called an imaging chamber at Project Quantum Leap linked to Sam’s brain, and only Sam can see and hear him – except for, as we learn, small children and the mentally disabled). In each episode, Al tells Sam what history he must change, what he needs to “make right that once went wrong” so that Sam can then “leap out” and into a new adventure or – as is always teased – back home to the future.
And for a show about time-travel, it’s fair to say that Quantum Leap was way ahead of its time. When Sam landed in a new place and time each week, the episode would hook the viewers in with the music and clothes and scenery – and that would brilliantly set the stage to introduce the characters and, more deeply, force us to confront much that was uncomfortable in our recent past. Years before #MeToo and Black Lives Matter, Quantum Leap made Americans reckon with their county’s ingrained racism and sexism. While the stories and characters might be sentimental, it was always brutally honest: yes, the South in the 1950s was racist as hell; yes, the New York City corporate world of the 1960s was sexist as hell (this was more than 25 years before Mad Men felt the need to remind us week after week); yes, the military was deeply homophobic; yes, the Cuban Missile Crises and Kennedy Assassination made everyone nuts; and yes, the Vietnam war was a tragedy that haunts our country, even to this day. Yes, the second half of the twentieth century in America was a wild, crazy place -- and Quantum Leap dramatized it so well and so originally. Quantum Leap ran from 1989 until 1993 and each week was a masterclass in writing, acting, and production Along with shows like Twin Peaks, Larry Sanders and The Days and Night of Molly Dodd, it paved the way for the Golden Age of Television that we enjoy today. As I mentioned, for a show that jumped around several decades between the 1950s and 1980s, the costumes were extremely important. And the costumes on Quantum Leap were brilliant – they accentuated the characters, gave them a dimensionality beyond the story and script, rooted them not only in the time and place they were living in but also were extensions of who these particular people were – and helped us understand what was going wrong with them so that Sam could set their lives to right. Almost all the costumes on Quantum Leap were the work of one man, Jean-Pierre Dorleac, a name that popped out every week in the opening credits. Jean-Pierre has had a truly legendary career in show business, designing costumes for the original Battlestar Gallactica in the late 1970s and other classic shows like Max Headroom, Airwolf, and Jake and the Fatman as well as movies like The Blue Lagoon and The Only Thrill. He’s won an Emmy and worked in theater and opera as well, all over the world. His long and successful career is a tribute to his great talent and eye for how the costume can help make the character. Jean-Pierre has a lively Twitter presence and, while he had a long and varied career in many mediums, it’s clear that his time on Quantum Leap was very special to him. He was the costume designer for almost every episode (except the last five) and he probably had the biggest, most challenging, and most enjoyable costume design job in all of television history. That’s why it was AWESOME that Jean-Pierre was kind enough to answer some of Mr NYC’s fanboy questions about his career, his work on Quantum Leap (especially some of the NYC episodes), and what he thinks the legacy of the show is in the 21st century, almost 30 years since it went off the air. Thank you so much for doing this interview Jean-Pierre. First, I would like to say thank you very much for your interest in my work, especially “QUANTUM LEAP.” Tell us a little bit about your background and how you became a costume designer. I have been in show business since I was 10 years old, when I was featured in a review in England (where I received my formative education) singing and dancing to a popular song of the era. “Keep Your Sunny Side Up.” My performance, which turned out to be quiet entertaining and captivating, launched me on the road of entertainment. I went on to perform in stage productions, radio and eventually television and film as an actor. Sometimes, due to restricted budget, I made my own costumes from scratch. In the sixties when I was studying for a degree in Historic Apparel, I went to work for various designers in Paris as a workroom assistant, shopping textiles, making patterns, and helping in fitting (by handing the designer pins at first). Dior, Cardin, and Givenchy were amongst the notable designers I worked for. I was still doing theater at the time, which at times, required my participation in the costumes I wore. One of the plays I did, “Oh, Dad, Poor Dad, Mama’s Hung You in the Closet and I’m feeling So Sad,” lost its costume designer to illness, and I volunteered to take over. My work created such sensational reviews, I thereafter concentrated more on the designing aspect of entertainment than on being a performer. Soon, because of my special knowledge in 18th Century apparel, I was asked to be the historical consultant to the costume designer for the Royal Shakespeare’s production of Peter Weiss’ bizarre play, “Marat/Sade” concerning the aftermath of the French revolution as performed by the inmates of a mental institution outside Paris. It won many awards and brought me to New York when it opened there, and consequently to Los Angles where the east coast world premiere was staged. I won the Los Angeles Drama Critics Circle award for the costume designs in 1973. Fate had a very funny, supplementary hand in its success, which is fully explained in my book, “The Naked Truth” available at Amazon.com, eBay, and at my website www.jean-pierredorleac.com. In time, I realized through my experiences in the making of costumes for the theater, and the expertise I have developed in couture creations, it had culminated in an ability to create costumes that had an underlying, subliminal message, placing them apart from just being attractive and in sync with the narrative. Within three years I did another two dozen well-known plays in Los Angeles, San Francisco, Chicago, Seattle, New York, Paris, Berlin, London, and Hawaii. And through them, I caught the attention of Edith Head, who then mentored me. Before long, renowned actress, Nancy Walker, requested me to do her costumes alone for her new series in 1977, “Blansky’s Beauties.” Through this, I was inducted into the entertainment’s union, The Costume Designers Guild, that opened more doors to other venues, like my first feature with Henry Fonda, Susan Sarandon and Eileen Brennan, “The Great Smokey Road Block” (a terrible title on a badly shot film with a sensational cast, that bombed). Although I had become pigeon-holed as mostly a period costume designer, Universal recognized my special talents in fantasy and I was offered Battlestar Galactica in 1978, for which I went on to win an Emmy.
I, of course, jumped at the chance to do the show, mainly because it would offer a different aspect of my abilities to the industry as well as the public. You worked on lots of TV shows and movies over the decades but, on Twitter, it seems like your work on Quantum Leap remains close to your heart. How did you end up working on the show? One of the associate producers on Battlestar Galactica was Don Bellisario. Matter of fact, he wrote the script for which I won my Emmy. Following the series demise, Don produced a wonderful show entitled The Tales of the Gold Monkey. During its run, he asked me to do a spinoff series from Magnum P.I, that never was aired, but I did become his favorite designer. So, years later, when Quantum Leap was done, he called me in after they shot the pilot episode, to redo a lot of the scenes in it, specifically an entirely new wardrobe for Dean Stockwell, playing a very sybaritic fellow named “Al.” I stayed and did EVERY show in all the season thereafter, except for the last five when I left the production to do Heart and Souls in San Francisco with Robert Downey, Jr., Kyra Sedgwick, Elizabeth Shue, Charles Grodin, and Alfre Woodard. For nearly every episode you had to design costumes for a different decade between the 1950s and 1980s, as well as for a different part of the country. It must have been a both big creative joy and challenge. How did you approach creating costumes for not only a specific era but also for totally new characters each time? By the time Quantum Leap came along, I had developed a knowledge of the 20th Century that surpassed all the other earlier periods. I don’t think you could fill half-a-page of what I DON’T KNOW regarding the trends in fashion for the last hundred and fifty years. Therefore, QL came easy to me. I didn’t have to do much research for any of the episodes unless I was looking for something that was out of the ordinary. The one thing that comes to mind immediately was the 18th Century stylization for the wedding dress in “Sea Bride”. I wanted to design something lovely, because it was a wedding dress, yet something comical at the same time, so that Beverly Leech has to struggle with it in the opening scene when she has to hide in the ship’s small stateroom closet. I remember combing old 1957 magazines to find that Dior had used a pannier for some of his gowns at that time, and that gave me the idea for the design I needed. Everything else in that show, including the drop-dead red tango dress, and all the shows, thereafter, just came off the top of my head. Character costume ideas come from the script. They are born when I begin to read it and then grow into a full figure by the end. Having learned from past endeavors, I want the character to blend with the other actors so there is continuity within their scenes yet have some unique characteristic that sets them apart. It requires imagination, especially with men, as they aren’t as bedecked as women. There is an adage that goes, “If it ain’t on the page, it ain’t on the stage.” I saw on Twitter that in one episode you had to create KKK outfits and that it was a hard and painful thing to do. What were some of the hardest costumes you had to create as well as some of the most fun? Having lived and worked on five continents in the same number of decades, I have tried to learn as much as I can about people. One, it helps me incorporate character in my design, and two, I learn about diversity and how it brings individuality to everyone. Each person has something wonderful to express in how they dress, no matter how much someone else thinks differently. Everyone’s ideas and concepts matter. The two things I abhor are bigots and fabulist. I have a hard time with titles as well, as I have always felt they cover a lot of sins. I’ve met as many people with an academic, medical, engineering, theatrical, artistic, and other degrees, as I have met people who know more by experiencing life and learning the hard way through vocational training. I believe the value of someone’s abilities lie in the merit of their work, not how much they can attract the public’s fancy by being a flash in the pan with a glorified handle. Having to generate a faction of history by making KKK robes, as there were none from the 50’s in existence, mainly due to changes in design, I was faced with having to create the actual monstrosities, including The Grand Dragon in red. It upset me very much, just in knowing how abhorrent the sight of them would be to many people that were my friends, especially in the south, where the episode occurred.
In other episodes of QL, over the years, I had to come up with Nazi and Russian uniforms, but they were ordered from costume houses. They were not of my creation. But the KKK robes that I watched being constructed, really left me sick. On the other hand, there were many fun things I did for the show that left me elated. There was “Play It Again Sam,” (with the widow who couldn’t help it, if she looked good in black), “Sea Bride,” “One Strobe Over the Line” (glamor, glamor, glamor)“A Single Drop of Rain,” “Glitter Rock,” (Rock the Redhead), “Miss Deep South” (especially the silly Carmen Miranda get-up for ‘Quanta La Gusta’), “What Price Gloria” (Sam’s dinner ensemble with the quivering feather hat), “Private Dancer,” “Southern Comfort” (all those wanton women in lingerie) and “It’s a Wonderful Leap,” among many. Okay, let’s get to the NYC part. You designed the costumes for the brilliant episode “What Price Gloria” where Sam becomes a secretary dealing with sexual harassment. What are your memories about that episode and the challenges of making Scott Bakula an attractive, dignified professional woman in 1961 NYC? It didn’t start with Sam. Nothing ever did. It started with Gloria, who you are supposed to be seeing. She was a gorgeous woman. It’s always easy to dress gorgeous women as everyone looks at their faces, not what they’re wearing. And if she were curvy and appealing, it was even easier. I choose simple sheaths that weren’t revealing in anyway at the office, with smart but subtle jewelry. As the story progressed, I selected more feminine styles when we realized that it wasn’t how Gloria presented herself that was making the wolf howl, it was his vain glorious believe in himself.
I tried to choose designs that were very reminiscent of the early 60’s and especially chic because it took place in New York City’s business world. I was helped in keeping the look light by the fact that it took place in October of 1961, in the Big Apple. Having lived there at the time, I knew what the weather could be like. One of the best episodes of Quantum Leap, as well as maybe the best NYC episode, is “Private Dancer” where Sam becomes a Chippendales’ dancer in 1979 and saves a deaf lady from a horrible fate. That episode is both one of the most hilarious and poignant episodes of TV I’ve ever seen on any show (the beginning of the episode, where Sam leaps into the dancer mid-jump, with screaming women all around, Kool and Gang’s “Ladies Night” blaring in the background is one of the funniest things ever). Also, it was probably the most realistic portrayal of late 1970s NYC I’ve ever seen, the costumes are clearly from the 1970s but don’t have a “paper-dollish” look and seem to capture how these struggling dancers at that time would have really dressed. What do you remember about working on that episode? Well, it wasn’t about putting Sam in next to nothing as the Zorro dressed dancer! That was fun. What was a lot of work, were the dresses to be used in the dance sequences. I had seen Debbie Allen’s choreography in other films and knew I was going to have to have outfits that twirled, floated, and looked seductive, yet classy. They also couldn’t look expensive as these dancers had no money and when they bought things, they tended to stay with styles similar to workout/rehearsal garments. Debbie Allen’s white gown, at the disco, was little more than four panels of triangular shaped wedges of white matte jersey with self-string straps, belt, and a self-wrapped turban. And the red handkerchief dress worn for the final audition by the young girl was silk jersey with a minimal scattering of sequins at the V-neckline and at the edges of the numerous skirt panels. I wanted simplicity at its best for these scenes as the dance was supposed to be the center of attention and where your mind should linger. The last NYC episode I’ll ask about is “It’s a Wonderful Leap” that takes place in 1958. In that episode you had to turn Scott Bakula into a Jewish cab driver. His costume and look in that episode, especially the glasses, is quite memorable (so much so that Stephen Colbert referenced that episode in 2015 because, sadly, it includes a child Donald Trump). I also remember all the costumes had a vibrant, 1950’s feel about them. Was that a fun episode to work on (Trump excluded)? Funny, but I have blanked out tRump being in it! God knows why…ha ha ha ha! Yes, “It’s a Wonderful Leap” was a wonderful show. After the various times I had spent in NYC, I was quite knowledgeable regarding Hell’s Kitchen, so Sam’s costume was quite easy to put together. I think I only bought one hat to the fitting as I knew it was perfect with the turtlenecks, scarf and beaten jacket of a cabdriver. The glasses were something I picked out from a selection that Props had, as they are a prop item on a shoot. Most of my time was spent with my old, dear friend Liz Torres. I had known her since 1975 when she had appeared at the Backlot Room of Studio One, in Hollywood. Liz is one of the most talented actresses in the world who can sing like a bird, dance like a ballerina, and realistically act the hell out a scene. I knew I didn’t have to create much of a character for her as it would all come from her. So, I went for a magical look in whites and grays that didn’t grab your attention, giving away the fact that she was ghost from the 20’s. We made everything, including her hat, shoes, coat, and dress that was beaded. I found old garters and we rolled her stockings down to just below her knees and rouged them…very de rigueur for a flapper of that period. Longshots on television are rare, so when Liz found out there was going to be one on the street, she spoke with the director first, and then improvised the Charleston dance step so the audience could see our efforts with the stockings and garters. She was definitely one of my favorite actresses of all the ones that I’ve ever worked with. The rapport between Sam (Scott Bakula) and Al (Dean Stockwell) was amazing, they worked brilliantly together. Did you ever get to watch them work and create that magic? Yes, many times. I went to the set every day when they were on the lot, and many times when they were on location as well. A major part of my job as a costume designer for film or television, is being on the set to establish a new costume that has never seen before, not even by Dean. Having been in the business for so many years, Dean didn’t like to deal with fittings. So, he and I established a look for him at the beginning. I also had the studio tailor take all his sizes. After a month, we were so in sync, I simple designed his outfits without anyone’s input, and took them to the set the day they worked. He would put them on in his motor home, and then come out with his cigar and parade around the set where all the grips, lighting technicians, sound, camera men and props would ooh and ah about how crazy they were. He loved showing them off as much as he did acting in them. He and Scott worked together in tandem as they were both extremely professional and didn’t mess around; it was always a business, that they made appear like fun. But they always knew their lines and hit their marks right on time. No one had to wait for either of them. Finally, even though the show’s been off the air for almost 30 years, my friends and my wife still love it. What do you think is Quantum Leap’s legacy? Was it one of the shows that paved the way for the later Golden Age of TV? I think its legacy was the great scripts. I don’t remember too many that didn’t hold my interest all the way though. I loved the fact that they also taught some moral responsibility amidst all the foolery. Plus, even though it was achieved though writer manipulation, there was usually a pretty rewarding and uplifting ending that sometime was quite nostalgic. I’m very rewarded by the followers on Twitter, who, for the most part, didn’t see the show when it was first released, but have becomes fans over the decades from the many times it has aired. That is very unusual for a TV series; it hasn’t been that way with the many other shows I’ve done. But I’m forever getting a residual check for the episode I appeared in, “Shock Theater,” so I know the show is always airing somewhere in the world. And I’m grateful after all these years that it has become the phenomenal cult hit it is. Between it, “Somewhere in Time,” and “Battlestar Galactica” my costumes have been exhibited all over the world and I have lectured as much as I have done. Examples of my creations have been exhibited worldwide. Benefits for AIDS Project Los Angeles have celebrated my work, as have The Mannequins Auxiliary of the Assistance League of Southern California where an hour long, dazzling fashion show paraded my creations. The Los Angeles County Museum of Arts showcased my costumes and sketches in their exhibition and book, HOLLYWOOD AND HISTORY: COSTUME DESIGN IN FILM, as well as exhibitions at The Metropolitan Museum of Art, New York City; La Palais de la Civilization, Montreal, Canada; and La Place Vendôme, Paris, France. Recently, ATAS exhibited thirteen examples at the Fashion Institute of Design and Merchandising in Los Angeles, in a presentation of award-winning television costumes. What a career! What a legacy! Thank you so much Jean-Pierre! Make sure to visit Jean-Pierre’s website and check out his book at the links above. Also, delve into Mr. NYC’s QL fandom here.
The legendary Dr. Ruth -- the funny short lady who has helped countless couples improve their bedroom activities -- has a new documentary about her life coming ... out.
A Jewish refugee from Nazi Germany, Dr. Ruth came to America with nothing and made herself into a pop culture icon. Heck, she even played herself in a great episode of Quantum Leap where she gives Al love advice in the "waiting room"!
And Dr. Ruth credits NYC with her success: "New Yorkers accepted immigrants with accents like mine."
No one has ever put it better, or more succinctly, about what makes American and this city great. UPDATE: When I was in college, Dr. Ruth visited and talk about how she counsels couples in their love life. She said that couples should do whatever feels good to them and gives them joy. She said that, for one couple she counselled, "zee vo-man told me zhe liked to lob onion ringz onto her huzband's erect peniz." Hilarious. Brilliant.
We live, now and forever, in the "Golden Age of Television." TV shows are better than ever, thanks to cable and streaming. Television is no longer the "boob tube" of yore, the poor relation of movies, but a proud artistic medium in its own right. The Wire, Mad Men, Breaking Bad, Game of Thrones, Orange is the New Black, The Marvelous Mrs. Maisel are just a few of the great "golden age" shows, featuring superior storytelling, acting, and cinematic qualities that capture our imagination and enrich our culture.
So when did the Golden Age of TV start?
Opinions differs, but the general "consensus" (if there can be such a thing) is that it began with two shows from the 1990s: Twin Peaks in 1990 and The Sopranos in 1999. Both shows broke normative TV boundaries, were daring, unsentimental, and nontraditional in their narratives, forcing viewers to watch people and things other shows shied away from -- and were hailed as masterpieces.
I mostly agree but, pour moi, the Golden Age of TV started on March 26, 1989 -- thirty years ago today!
That's when Quantum Leap premiered -- a show about a brilliant scientist named Sam Becket from the (then) future of 1995, who invented a time travel project called "Quantum Leap" where his mind and soul "leapt" into the bodies of people in the past. His time travels were limited to the past of his own lifetime (roughly the early 1950s to the 1980s). Once Sam became someone else, his mission was to "change history for the better", "to make right what once went wrong." He was regularly visited from the future by his friend Al, who "appeared in the form of a hologram that only Sam can see and here." Al would give Sam the info about his missions, tell him about the "wrongs" he needed to "right", give him information from the future about the fate of the people Sam saved, and then after Sam accomplished his mission -- and only then -- would Sam leap into another life and point in time i.e. another episode.
I was obsessed with this show as a kid. I love time travel stories and history so this show was made for me. All my friends were fans too, and we talked about it practically every day. Quantum Leap was also, as a piece of pure TV art, stunningly good -- great writing, acting, and very original storytelling. So much of TV drama in the late 1980s/early 1990s was crime shows, lawyer shows, soap operas -- and here was this inventive, completely original show that exploded the hour-long drama narrative and did it amazingly well.
There wasn't another show like it on TV then and there hasn't been a show quite like it since.
Sam didn't just leap into lives but touched history, and the show was about the (then) recent past that America in the late 1980s/early 1990s was still grappling with. At times the show could be serious, at time it could be heart-wrenching, and at other times it could be hilariously funny. It tackled everything -- Vietnam, civil rights, Watergate, the women's movement, pop culture, you name it – Quantum Leap was a history lesson and drama wrapped into science fiction. Brilliant.
Quantum Leap starred Scott Bakula as Sam and Dean Stockwell as Al. Their chemistry, their repartee, their banter, the ups and downs of their buddy-dom is the stuff of legend, fascinating to behold -- they were funny, emotional, witty, and compulsively watchable together. They were and remain one of the great duos in TV history.
And each week there was a huge new cast of guest stars, including some actors who went on to have brilliant careers: Jennifer Aniston, Joseph Gorden-Levitt, Teri Hatcher, Diedrich Baeder, Michael Madsen, Bruce McGill, Jason Priestley, Patricia Richardson, Carla Gugino, and others. They all did memorable work.
One thing that was so much fun about this show was that each week Sam not only leapt into another time (one week it was the mid-1950s, another it was the late 1970s, then the '60s, the '80s, and so forth) but also different places including the South, the Midwest, California -- and, naturally, NYC.
There were many great NYC Quantum Leap episodes -- Sam became a cab driver, an actor, a butler, a fashion photographer, a gangster, amongst others. However, my favorite NYC Quantum Leap episode was when he leapt into the life of a Chip'N'Dale's dancer named "Rod the Bod" in 1979. The episode begins with Sam leaping into Rod's life while he is literally dancing in mid-air, crashing to the ground in front a bunch of horny and screeching women, Cool and the Gang's "Ladies Night" blaring. It's one of the funniest things I've ever seen and was the kind of comedy (and drama) that only Quantum Leap could provide.
You can find old episodes of Quantum Leap on Amazon and behold the birth of the Golden Age of TV, and see NYC portrayed in a way that's never been done before or since.
I recently caught up with two movies on DVD that came out last year: Nick and Norah's Infinite Playlist and TheWackness. Both of these flicks are about teenagers "coming of age" in NYC and, as a former teenager who came of age in this great metropolis, I obviously felt compelled to watch and critique them.
Nick and Norah's Infinite Playlist: Technically this is about teenagers from New Jersey but the movie takes place in NYC and is where the youg'uns "find" themselves so I think it counts. Anyway, Nick is a high school senior who loves, loves music and is in a band with a couple of gay guys called The Jerkoffs. He's just been dumped by his girlfriend who's a giant raging bitch but, like most dumb guys, he can't get over her. His ex goes to school with, and is frenemies with, Norah who is also a giant music geek. So one Friday night, just before Nick and Norah graduate, Nick's band plays a gig at Arlene Grocery. Nick and Norah meet and, in an attempt prove to Nick's ex that he's over her, kisses Norah. After that, hilarity ensues: Nick, Norah, and the gay guys fail in their attempt to take Norah's drunk friend Caroline back to New Jersey, Nick's ex decides she wants to get back with him, and all the while they are trying to find out where a band called Where's Fluffy is playing (apparently this band is so cool and so good that their gigs aren't announced until the last minute and they always play at weird times and places). Needless to say, love and music triumph, as Nick and Norah realize they are the only two people cool enough to understand each other.
I REALLY wanted to like this movie. Nick and Norah's Infinite Playlist had the potential to be a great early 21st century, coming of age, NYC, hipster flick. Also, it clearly understands how important music is to some people and how growing up sucks. And it's a very affectionate love letter to downtown New York: the movies rushes from place to place, from Arlene's Grocery, to Gray's Papaya, to St Mark's Place, to Penn Station, to Brooklyn, to Veselka (easily my favorite East Village hangout). But the characters of Nick and Norah aren't really developed, I never come either to like or identify with them really. Micheal Cera from Juno and Arrested Development plays Nick and basically the movie doesn't give his character any complexity -- we're basically supposed to love him because he's cute, his character loves music, and we loved him in Juno. Someone named Kat Dennings plays Norah (I'm totally unfamiliar with her other work) and her character makes no sense: one moment she's a tough, smart, and resilient broad, the next she's a little wimp. Totally illogical. As for the story, it's hopelessly contrived. The whole "finding where Where's Fluffy is playing" is lame, just an excuse to have the characters run around the city. And the ending is very dumb. So sadly, as much as I would love to tell people that this is a great coming of age in NYC flick, I can't.
The Wackness: Much better movie. It has its problems but in terms of story and character development, it's a quantum leap above Nick and Norah. So Luke (played by some kid named Josh Peck who I never heard of but he's really good) is a pot dealer. He's just graduated high school but his college plans are almost derailed when his parents go bankrupt. He has a shrink named Squires (brilliant performance by Ben Kingsley) who Luke pays with pot, and Squires is also the stepfather to a girl named Stephanie that Luke went to HS with and is in love with (Stephanie is played by Olivia Thirlby who played the best friend in Juno; she is an amazing actress). Anyway, it's the summer of 1994 and Luke has two missions: deal enough pot to pay for college and hook up with Stephanie. The only flaw in this plan is Squires, who becomes a bigger and bigger part of his life. Squires is basically going through a mental breakdown, his marriage to Stephanie's mother crumbling, and Luke begins to view him as the father he never had. Events and hijinks and misunderstandings ensue and, unlike the previous movie, The Wackness is totally unpredictable and has one of the weirdest and most strangely satisfying endings I've seen in a while. All ends well ... sorta. The Wackness really moved me. Personally, I don't know how anyone who wasn't a teenager in NYC in 1994 can't appreciate it but, if you were one like me, you'll love it. This movie gets 1994 down PERFECTLY. I really felt like I was transported back to that time, when teenagers still thought they were cool by drinking Zima and sporting beepers, and Giuliani had just taken office (you may recall my previous blog posts on remembering the cultural impact of 1994 that we still feel today). The only big problem I had with this flick is in the character of Luke: on the one hand, he's this brilliant pot dealer (never gets caught) but at the same time he's a total loser with girls (until Stephanie). Here's the deal: if you're a drug dealer in NYC and you're smart enough to make a lot of money at it and not get caught, and even graduate high school in the process, then you are smart enough to know how to score chicks!Drug dealers have no problem getting laid! Women love hooking up with drug dealers! They friggin' offer themselves up to drug dealers! So I couldn't really buy this whole part of the movie. I realize the writer probably thought that this made Luke a more compelling character (hard nosed drug dealer, wimp with the ladies) but the logic left me cold. However, Josh Peck's performance is so wonderful that you forgive this and, with all the other great characters that populate this quirky flick, you give The Wackness a chance and, as character of Luke would say, roll with it. And Ben Kingsley is so incredible that it's worth seeing the movie for him alone.
Of course, if you want to see a much, MUCH darker coming of age in NYC movie, then watch Kids from 1995. It'll make you have a mental breakdown.
Quantum Leap was one of the greatest TV shows of all time (which is why I've posted the very cool opening credits here). It's also the name of a vegetarian restaurant in Greenwich Village.
I don't usually patronize such joints (I'm a veteran carnivore) but I went a couple of weeks ago and, I must say, thought the food was great. Quantum Leap's menu is mostly macrobiotic but they also vegan options. You can get a wide variety of veggie burgers, sandwiches, and wraps plus they have healthy breakfast foods. I had a really good burrito with some kind of yam-like chips and the others had the aforementioned veggie burgers. They don't serve sodas or any of those unhealthy drinks, so plan to wash down your meal with a lemonade, fruit juice or some kind of natural tea.
Quantum Leap is located at 226 Thompson street, just of Washington Square. It's a small place but has a very friendly atmosphere, usually described by people as "chill." Best of all, the prices are modest and it's not too hard to get a table.
For a good, reasonably priced, not too crowded restaurant in NYC, Quantum Leap is a real find.
