When I was young, living back in Michigan, I used to watch the Carol Burnett show religiously every Saturday night at 8:00 on CBS. She was my idol. I wanted to be a comedic actress just like her when I grew up!
But then my family moved to northern California and life was anything but funny. The move was traumatic and life became (melo)dramatic. I was so self conscious about EVERYTHING as are most adolescents.
But, still I had a fascination with the glamour and magic of Hollywood. So, when I moved to Los Angeles to pursue a career in music, it didn’t take long for me to find my way into the entertainment industry. My first experience was as an ‘extra’ in a movie directed by Clint Eastwood. It was called “Bird” about the life of jazz saxophonist, Charlie Parker.
One day while on set, during lunch, Mr. Eastwood walked toward me with his tray of food. He nearly sat down right next to me. I sat there frozen as a statue as he approached - I probably scared him off with the look on my face as he slowly walked past me. He went on to sit a little bit further down at the same table - with the background actors! Later I found out that he sometimes ate with the extras. (I've worked on hundreds of productions since and have never seen a director do that.) He also had the most unique way of directing. He never yelled, "ACTION", it was more of a subtle nod of the head and a quiet, "Okay, let's go."
Although I enjoyed background acting I couldn't get by on the wages, so I began doing temp. work. I was living in Venice at the time, near the beach and I rode my bike often. One day I passed by a disheveled group of warehouse buildings with the facade of a castle being built in front of one of them. I rode my bike into the lot which turned out to be the home of Roger Corman's movie studio. I really didn't know who he was at the time, but later found out he was "KING OF THE B-MOVIES - a producer who discovered actors like Jack Nickolson, Robert DeNiro and Dennis Hopper.
As I was admiring the painters creating the look of carved stone on the make-believe castle facade I told them that I was a painter and asked how I might get involved in doing art on film sets. I was directed to talk with the Production Designer and he asked if I might be willing to do an 'internship'. I agreed and began working at Roger Corman Studios the very next day.
I worked for free for two days and then after that I became a paid employee making $75.00 a day! I went on to work at the studio for four or five months ("Time Trackers" and "Transylvania Twist" were a few movies that I worked on) and then I found out about another movie that was going into production. That's how it worked, and still does - you just start putting the feelers out - "What's next?" Who's crewing up?" "What's the budget?" "Is it union or non-union?" and so on...
My next job would turn out to be on a movie of the week being filmed at the legendary MGM studios in Culver City. It was my first time on a studio lot - and it was magical! I worked on a TV movie called "Till We Meet Again".
One day while on set, during lunch, Mr. Eastwood walked toward me with his tray of food. He nearly sat down right next to me. I sat there frozen as a statue as he approached - I probably scared him off with the look on my face as he slowly walked past me. He went on to sit a little bit further down at the same table - with the background actors! Later I found out that he sometimes ate with the extras. (I've worked on hundreds of productions since and have never seen a director do that.) He also had the most unique way of directing. He never yelled, "ACTION", it was more of a subtle nod of the head and a quiet, "Okay, let's go."
Although I enjoyed background acting I couldn't get by on the wages, so I began doing temp. work. I was living in Venice at the time, near the beach and I rode my bike often. One day I passed by a disheveled group of warehouse buildings with the facade of a castle being built in front of one of them. I rode my bike into the lot which turned out to be the home of Roger Corman's movie studio. I really didn't know who he was at the time, but later found out he was "KING OF THE B-MOVIES - a producer who discovered actors like Jack Nickolson, Robert DeNiro and Dennis Hopper.
As I was admiring the painters creating the look of carved stone on the make-believe castle facade I told them that I was a painter and asked how I might get involved in doing art on film sets. I was directed to talk with the Production Designer and he asked if I might be willing to do an 'internship'. I agreed and began working at Roger Corman Studios the very next day.
I worked for free for two days and then after that I became a paid employee making $75.00 a day! I went on to work at the studio for four or five months ("Time Trackers" and "Transylvania Twist" were a few movies that I worked on) and then I found out about another movie that was going into production. That's how it worked, and still does - you just start putting the feelers out - "What's next?" Who's crewing up?" "What's the budget?" "Is it union or non-union?" and so on...
My next job would turn out to be on a movie of the week being filmed at the legendary MGM studios in Culver City. It was my first time on a studio lot - and it was magical! I worked on a TV movie called "Till We Meet Again".
That project led into another one called "Solar Crisis" which turned out to be one of Charlton Heston's last movies! It was a Sci-Fi movie and we had to create otherworldly landscapes inside of a large warehouse somewhere in the Long Beach area.
During this time I moved from Venice Beach to a guest house in Santa Monica. I had heard that a movie about the rock band "THE DOORS" was crewing up so I gathered the courage to walk into the "Doors" production office with portfolio in hand and met the Art Director. She looked at my art work and said that she might have a job for me. And, indeed she did! I was hired to re-create Jim Morrison's sketches in the dozens of journals he wrote in while he was alive. Every couple of days I would go into the office and I'd be given a few notebooks to doodle and sketch in. (Somebody else had already done the writing part).
One day the Art Director took me in to Oliver Stone's office and introduced me to him. It was exciting to meet the famous director! I thanked him for the work and told him how thrilled I was to be a part of the project. When the movie came out I was anxious to see if my art had made it onto the screen. And, sure enough it had! There are two close-ups of my artwork and although I was never given a credit at the end of the movie I'll always know who's artwork it was on the screen! It was one of my highlights of being an artist in Hollywood!
Still on a confidence high, I rode that wave right into the production office of my favorite TV show at the time. It was called "The Wonder Years". I left my resume and portfolio with the Art Director (Bill Ryder) and hoped that he'd give me a chance to work on the show. A few days later I was called in to work! It was so unreal being on the set of a show that I watched all the time. I felt as though I'd already known the actors. And, everyone treated me with kindness from the start. I went on to work on that show for three years as their on-call set dresser/scenic artist! I remember the last day of filming. We were each given a Director's chair with our name on it. They served us lobster for lunch and there were plenty of tears and hugs to go around as we said our good-byes. When you work long hours with a crew you often create a bond. Although I've lost touch with those I worked with, there will always be a place in my heart for them and for the "Wonder Years".
MORE HOLLYWOOD MEMORIES TO COME!
Janine's art and music can be seen and heard @ www.j9art.com
During this time I moved from Venice Beach to a guest house in Santa Monica. I had heard that a movie about the rock band "THE DOORS" was crewing up so I gathered the courage to walk into the "Doors" production office with portfolio in hand and met the Art Director. She looked at my art work and said that she might have a job for me. And, indeed she did! I was hired to re-create Jim Morrison's sketches in the dozens of journals he wrote in while he was alive. Every couple of days I would go into the office and I'd be given a few notebooks to doodle and sketch in. (Somebody else had already done the writing part).
One day the Art Director took me in to Oliver Stone's office and introduced me to him. It was exciting to meet the famous director! I thanked him for the work and told him how thrilled I was to be a part of the project. When the movie came out I was anxious to see if my art had made it onto the screen. And, sure enough it had! There are two close-ups of my artwork and although I was never given a credit at the end of the movie I'll always know who's artwork it was on the screen! It was one of my highlights of being an artist in Hollywood!
Me & Fred Savage - while working on THE WONDER YEARS
Still on a confidence high, I rode that wave right into the production office of my favorite TV show at the time. It was called "The Wonder Years". I left my resume and portfolio with the Art Director (Bill Ryder) and hoped that he'd give me a chance to work on the show. A few days later I was called in to work! It was so unreal being on the set of a show that I watched all the time. I felt as though I'd already known the actors. And, everyone treated me with kindness from the start. I went on to work on that show for three years as their on-call set dresser/scenic artist! I remember the last day of filming. We were each given a Director's chair with our name on it. They served us lobster for lunch and there were plenty of tears and hugs to go around as we said our good-byes. When you work long hours with a crew you often create a bond. Although I've lost touch with those I worked with, there will always be a place in my heart for them and for the "Wonder Years".
MORE HOLLYWOOD MEMORIES TO COME!
Janine's art and music can be seen and heard @ www.j9art.com
