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Fascinating, highly candid and often uproarious, costume designer Jean-Pierre Dorléac s detailed Hollywood accounts strip back the façade from the years between 1973 and 1985, when classic glamour became a thing of the past. Through his award-winning works spanning theater, television, film, couture, burlesque and ballet, Jean-Pierre draws on firsthand, factual knowledge to paint an insider s picture of the entertainment industry.
Get a behind-the-scenes account of what it took to create the magic of Battlestar Galactica, Buck Rogers in the 25th Century, Somewhere in Time, The Blue Lagoon and other diverse projects that brought recognition, respect and acclaim to Dorléac through Oscar, Emmys and The Los Angeles Drama Critics Circle Awards while he secured his idiosyncratic place in history as the creator of the figure-hugging, wildly popular, spandex pants.
Guided by the treasured advice of his mentor, Edith Head, Dorléac was able to successfully retain his composure in exasperating situations and skillfully maintain his balance between obstreperous actors, demanding directors and powerful producers. This is an engaging chronicle of a crucial 12-year period when the dogged pursuit of higher profits radically changed the entertainment industry and replaced singular, custom-made designs with cut-rate, ready-to-wear on rolling racks.
- Sales Rank: #1421859 in Books
- Published on: 2015-05-04
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.50" w x 6.00" l, .0 pounds
- Binding: Hardcover
- 415 pages
Review
Anyone who knows movies well has heard of (if not seen) the movies Somewhere in Time, Blue Lagoon, or Battlestar Galactica. There's a common denominator in these seemingly-disparate films, and that's Jean-Pierre Dorléac, who chronicles his years in the film industry as a costume designer in his new autobiography The Naked Truth.
Because his story does not come from the usual producer, director or screenwriter's perspective, it succeeds in adding insights on the industry that are fresh and different; and because this story covers a dozen years in the industry (from 1973 to 1985), it succeeds in capturing the final years of a film era that saw its glamour fall to the lure of television. Also, because the author spent his early years as a childhood actor, he offers a unique blend of perspectives that are presented with a humorous tone but include very real insights into the film industry's transitions.
Chapters are packed with anecdotes both from the author's own background and from those who shared their own stories with him. They probe the world of professional costume designing and detail a time period rarely covered in Hollywood exposés, when corporations moved in like vultures to peck at the dying carcass of Hollywood's glamour days, selling off decades of props and costumes that should ideally have been preserved in museums.
Anticipate first-person encounters with the stars, funny mishaps and union confrontations, and brutally candid observations of the industry: "I think this business is like King of Hearts, where they opened the asylum doors and let the patients loose. No one in production knows much about anything, and all the behind-the-scenes people are merely pretending, just like actors. They have no inkling regarding good taste, flair or panache, or the ability to create.
The Naked Truth is hobnobbing with the stars, autobiography, and Hollywood history and politics in one book, and will delight any who want a personal, lively exposé of the industry's heyday. The chatty tone sets the stage for a rollicking good leisure read; so if it's serious analytical history that's sought, look elsewhere. Just because it's 'the naked truth' doesn't mean that Jean-Pierre Dorléac has gone light on its entertainment value: lively storytelling devices the norm, here: not the exception. --MIDWEST BOOK REVIEW: Diane Donovan
The Naked Truth: An Irreverent Chronicle of Delirious Escapades covering the end of classic glamour.
Jean-Pierre Dorléac offers us a front row seat in The Naked Truth that details the facts of costume design on all entertainment levels. In it, he describes an extensive career (1973-1985) during which he became an acclaimed theater, film, television and couture designer. He was Oscar nominated for Somewhere in Time and 11 times nominated for Emmys, winning for Battlestar Galactica and The Lot. Jean-Pierre arrived in Hollywood in 1973 with an education from the University of Paris in Historic Apparel, and with a stage career already in place. He was witness to and part of the survival struggle for film glamour.
It s a delicious read about friendships of great depth and long standing with Edith Head, Jean Simmons, Roddy McDowall, June Lockhart and more, that makes you sigh, wishing you d known them. It s a prickly read about the treacherous realities of egos run amok and short-lived relationships with stars and producers that leaves you relieved they weren t yours. But mostly it s a designer s read about persistence, networking and love of the beauty of the art.
From his opening stories of outrageously bawdy party behavior, to intimate moments of confidences shared, Dorléac names names and calls spades on a part of Hollywood you haven t experienced. In a time not like today, he chronicles a designer s entry to the film business more sad than sweet; more tribulation than triumph but he tells you how he did it, as improbable as it may sometimes have been.
Want all the facts? Get Naked. --Jacqueline Saint Anne, President Emeritus Costume Designers Guild
Beyond the beads and sequins, the glitzy parties and awards shows in New York and Hollywood, there lies the very serious profession of costume designing, as explained in The Naked Truth, by multi-award-winning designer Jean-Pierre Dorleac.
Not that there aren t delightfully entertaining examples of the glamorous and fun side those are plentiful. But he reveals, through personal stories, the truth about the 14-hour days, the last-minute changes, working miracles on a small budget, and the hopes of pleasing a multitude of producers, directors and stars. And though he has had a highly successful career, he doesn t shy away from talking about the jobs he almost got, or the movies that failed. The only complaint is that it stops when it feels there is more to tell, which is a tribute to his writing.
The book opens in 1973. His career is already underway and he wins the Los Angeles Drama Critics Circle award for costume design. Over the years, as the book progresses, his career expands into many more plays, television shows and films, most of which the reader will remember vividly.
What s intriguing is the way Dorleac interweaves celebrity stories and encounters with the real art and business of designing, from first idea to the actual production and beyond. It s exciting to take his journey as his personal star begins to shine even more brightly with time.
The book is lengthy, but very fast reading, told in a chatty tone that doesn t hesitate to be funny and touching, but also brutally honest, if not downright bitchy, in a delicious way.
The names read like a Who s Who of Hollywood past and present, including Edith Head, Lana Turner, Louis Jordan, Ann Miller, Jane Seymour, June Lockhart, Henry Fonda, Brooke Shields, Christopher Reeve and Christopher Plummer, to name but a very few who are included. There are tales of the darlings and the divas a couple of them quite surprising. This isn t name-dropping , however these are the people he knew - the people he worked with and was friends with.
The Naked Truth should be mandatory reading for anyone considering a career in fashion or design. It should not only prepare them for the reality of design, but also inspire them to go forward. But film, stage and television lovers will be thrilled by the insider stories, too. It may well change the way we look at any production from now on. --Valerie Porter of Bookpleasures.com
About the Author
JEAN-PIERRE DORLÉAC s writings have appeared in magazines as featured stories, books of fiction, and as screenplays for television and films since the 1960 s. Additionally, his designs in costumes for all levels of the entertainment industry have won Emmys, a Tony, the Drama Critics Circle Award, several Sci-Fi honors and an Academy Award nomination. He has lived on six continents, speaks three languages, and enjoys ethereal islands with white sand beaches, warm tropical weather and a minimum of communications. The Naked Truth: An Irreverent Chronicle of Delirious Escapades, details the never-before-told, behind-the-scenes saga about working in theater, couture, television and film.
Most helpful customer reviews
1 of 1 people found the following review helpful.
often take it out on costumers whose principal objective is to make them look their best. All this is told with great wit and ..
By Lyndon Wester
That the Hollywood movie and television industry gobbles up people and spits them out at a prodigious rate is no secret but this view of the industry by Jean-Pierre Dorleac provides a new perspective in his book “The Naked Truth”. It is that of a costume designer who also once worked as an actor. The tensions between the talented and merely photogenic are documented with personal experiences and amusing anecdotes. Insecure actors, either from their fragile artistic sensibilities or the fear that their fading beauty will no longer sustain them, it seems, often take it out on costumers whose principal objective is to make them look their best. All this is told with great wit and verve; the good are recognized and properly honored and a few scores are settled with the others.
The period Dorleac deals with is from 1973 to 1984 and each year is given a chapter. Events and even conversations are recounted with remarkable detail from a time when people did not imagine everything was being recorded. The author appears to have kept all his detailed appointment books and notes from fittings that provide the structure for his accounts.
This decade (plus one) was a time of some dramatic transitions for the movie and television industry driven by both technology and rapidly changing tastes. Glamor was going out, fantasy was coming, film was going out and tape digital imagery coming in. Television had matured as a medium and encroached on the territory of once sacrosanct movie making. Executives, and their accountants, had to manage it all. Some talented professionals dealt with the necessary adjustment and economies delicately with scalpels while others, perhaps owing their position more to connections than talent, tended to use the broad sword. The author lived and prospered through it all and recounts it in his “irreverent chronicle”.
The dust cover for “The Naked Truth” features the naked costume designer (with cunning chiaroscuro) in a delicious irony for this tale of reality and illusion, which is what Hollywood is all about.
1 of 1 people found the following review helpful.
TV and Film production from a Costume Designer's Point of View
By Sword of Justice
Have you ever wondered what the role of a costume designer entails? Or indeed how it differs from other clothing-specific titles and job descriptions within the TV and movies business? Jean-Pierre Dorléac, well-known to attendees of the Cult TV Festival, tackles the demarcation at the same time as pulling back the curtain on this aspect of Hollywood, in his book “The Naked Truth”. Covering the years from 1973 to 1985, the choice of timeframe is very deliberate. This was the era when the classic glamour creators of Tinseltown were almost totally side-lined, replaced by pushy wannabes with no background or knowledge in their craft. All brought about by bean counters who put the bottom line ahead of quality.
This is the story of what Jean-Pierre needed to do to make ends meet, while establishing his name so as to be thought of when relevant projects neared production. As many a media person will tell you, networking is essential. It really is a case that what you know is not nearly as important as who you know. Connections beget contracts. So whether it was work for the theatre, television, film, couture, burlesque, ballet, or stars who wanted to make an impact when they were seen out-and-about, Jean-Pierre was civil to everyone, as he sorted the wheat from the chaff.
As noted, Jean-Pierre is well known to frequenters of the Cult TV Festival. He joined us in Solihull, Birmingham, England in 2005, where our delegates voted him into the Cult TV Hall of Fame – Costumes during the Saturday night Awards ceremony.
I will never forget his uncanny ability to read between the lines of what was going on with some of our celebrities – a quiet word with me, here and there, assisted in keeping our ship on an even keel. His perceptiveness is something that is a foundation of “The Naked Truth” – the ability to say the right thing, at the right time, was his key to keeping many a Hollywood ego in check.
Overall, Jean-Pierre has reaffirmed a generality which I myself have construed from meeting various level of star: the bigger the name, the less trouble they are. Those who are likely to burn bright and then quickly fade can be one hell of a pain in the derriere; those who have to work with these sorts often mumble silently “who the hell do you think you are?” Ah yes, a handful of those to note from Cult TV Festivals gone by, but I’ll leave that to my own often-promised autobiography!
But our little old Cult TV Award was a side issue to where real recognition came from. Jean-Pierre was nominated in the 53rd Academy Awards (1981) within in the category of Best Costumes for his work on the movie “Somewhere in Time”. Now, this was a film which the studio was reluctant to support, but it had an enthusiasm and dedication from cast and crew alike. Actress Jane Seymour even persuaded composer John Barry to write the music for it, as ordinarily the budget would not have stretched to securing him. For those who haven’t seen it, the story has the charm of being a romance with a time travel conceit. It is a simple yet powerful tale from the pen of Richard Matheson, the story originally released as the novel “Bid Time Return”. In Jean-Pierre’s discussion of the project within “The Naked Truth”, he reveals a side to male star Christopher Reeve which few would have anticipated.
“Somewhere in Time” is just one cult movie which Jean-Pierre worked on. He was also in place for the Brooke Shields version of “The Blue Lagoon” in 1980.
“Somewhere in Time” did secure Jean-Pierre the Saturn Award for Best Costumes (1981). This was also a happy hunting ground for TV-based awards – the previous year he was actually nominated for Best Costumes twice – once for Battlestar Galactica, and ended up winning for Buck Rogers in the 25th Century.
And there were nominations for eleven Emmy Awards, too. He won twice, in the category “Outstanding Costume Design for a Series”, in 1979 for Battlestar Galactica and in 2001 for The Lot – an award shared with Gilberto Mello. Along the way he picked up nominations for the likes of The Bastard, Galactica 1980, Tales of the Gold Monkey, and Quantum Leap (FOUR times!).
All of these series are covered in this book, but also discussed for the discerning telly addict are his contributions to the likes of The Greatest American Hero, Airwolf, Automan, Knight Rider and Masquerade.
Jean-Pierre takes the chance to put right the fable of how the look of the Cylons on Battlestar Galactica came into being. Long heralded as being based on the designs of Andrew Probert, it turns out that Jean-Pierre was the mastermind, following a conversation between him, Glen A Larson and Leslie Stevens, where the producers noted they thought storyboard artist Ralph McQuarrie had failed to capture the necessary majesty and highly-polished coldness required. Together with Haleen Holt, a union assistant costume designer sketch artist, Jean-Pierre worked on over a dozen pencil versions of the Cylon before Glen and Leslie approved several, then eventually three. After various meetings with the special effects gurus, Jean-Pierre drew up a final sketch, and Haleen coloured it. Immediately after Glen saw it, the design was set.
This wasn’t the major fashion statement that was cemented by this series, though! In 1976, PR guru Ronni Cowan introduced Jean-Pierre Dorléac to Lesley Ann Warren (she of original Mission: Impossible fame). She needed nightclub costumes for Studio One’s Backlot Cabaret in West Hollywood. The solution included spandex trousers, which through Galactica and Buck Rogers in the 25th Century became “the next big thing”.
Indeed, by the time Jean-Pierre worked on the television musical special of “The Valley of the Dolls” in 1981, he was buying them off the rack in every shade of pastel and primary colours imaginable, for less than it had originally cost him to make them!
One of my favourite recollections of Jean-Pierre’s is for the Larson short-run series Sword of Justice, which starred Dack Rambo as a modern Count of Monte Cristo, Jack Martin Cole. In the Summer of 1979 it was a jewel in the crown of BBC1’s Saturday nights, and was essential viewing for the handful of weeks that it was on the air. To see it mentioned in such esteemed televisual company raises hopes that, perhaps, one day it will get a full DVD release (a double episode, “Blackjack” made it to VHS back in 1988).
Equally, his account of the major players in another short-run Larson series, Cover Up, from 1984, gives a background to the show which is missing from all previous texts I have seen on it. It details a further back-story which adds substantially to the tragedy which unfolded. Cover Up is a series which almost deserves its own “Movie of the Week” to detail what, in essence, became a contemporary Greek tragedy, with the death of the original star, Jon-Erik Hexum.
According to IMDB.com, between scenes, while the director of photography and crew set up camera positions and lighting for the final day's scene of a very long filming schedule, Hexum took a break and practiced loading blanks into a revolver. The prop master’s assistant talked with Hexum, as Hexum held the pistol in his hand, spinning the cartridge, acting as if he was planning a game of ‘Russian Roulette’. It was announced there would be an additional scene to film. Hexum was handing the gun to the assistant prop master when Hexum suddenly pulled the gun back, raised his hand holding the pistol, pointed it at his temple, said "Oh well, what the Hell!" and pulled the trigger.
The pistol fired, and wadding from the blank cartridge shattered his skull. The special effects foreman ran onto the set and tried to open Hexum's clenched jaw to get much-needed air into his lungs. He applied a towel to the actor's head wound. The actor was placed onto an emergency wood stretcher, loaded into a studio station wagon, and rushed through the studio gate and across the street to Century City Hospital's Emergency Room. Jon-Erik Hexum was declared brain-dead on 18 October 1984.
On top of all that, it is worth getting hold of Jean-Pierre’s book to add a background vista which changes your viewpoint of the events as they have been described. But don’t expect spoilers in my review here!
This is Jean-Pierre’s second book - his first was a novel, “Abracadabra Alakazam”, described as “A mystery caper that takes the reader through two comically twisted tales of best intentions gone haywire. In spite of a deck stacked against her, a naïve young woman with a mysterious past rises to her fame, fortune and romance with a little cunning and lots of magic.” Released just over a decade ago, in contrast “The Naked Truth” proves truth is indeed stranger than fiction.
The cast of players in the book is impressive. You’ll find mentions and anecdotes of Fred Astaire, Buddy Ebsen, Henry Fonda, Cary Grant, David Hemmings, Louis Jourdan, Jimmy Kirkwood, Patricia Neal, Sarah Miles, Ann Miller, Eleanor Parker, Barbara Rush, Susan Strasberg, Lana Turner, Nancy Walker and Mae West. To name but a few!
The conversations with those who became close friends, including June Lockhart (Lost in Space), Roddy McDowall (Planet of the Apes) and Jean Simmons (North and South), give context to the workings of Hollywood. And most red-blooded males will be green with envy concerning the details of fitting sessions involving the likes of Ursula Andress, Ahna Capri, Britt Eklund, Pamela Hensley and Kim Cattrall.
For those who are keen to learn more about the craft of costume design, Jean-Pierre does not disappoint on this front. You will discover how designs originate, from creative concepts, production meetings and the development of initial sketches, all of which precede the finding, cutting and blending of fabrics and colours to meet the sometimes-conflicting demands of the script. The concluding finishing touches of costume construction, where the accessories can lift everything else to another level, round out the knowledge bank which is on offer within this title.
Throughout, the advice of Jean-Pierre’s mentor, Edith Head, is fondly recalled, a voice of experience guiding him through assorted minefields. These issues are not only in terms of costume options and possibilities, but also in nurturing how to retain his composure in the face of all adversity, originated by obstreperous actors, demanding directors and powerful producers.
Jean-Pierre noted to the hollywoodonthepotomac.com website that one of the reasons he wrote this book was as a result of working with numerous youth-recovery support organisations. He began doing so after hearing so many terrible stories about the youth of today, distressed and unhappy, who can’t seem to deal with life. Their reaction can see them deciding not to go on, and in taking such a decision they commit suicide, often in very public ways. He said: "It’s so sad that they have no self-awareness, and they don’t realise that it takes a lot of determination and a lot of fortitude to get through the business... You have to constantly keep pushing yourself and going forward, whether you don’t feel like you’re going anywhere or not."
As the news release notes, “The Naked Truth” is “an engaging chronicle of a crucial 12-year period when the dogged pursuit of higher profits radically changed the entertainment industry and replaced singular, custom-made designs with cut-rate, ready-to-wear on rolling racks”. In amongst hilarious barbed remarks (some of which I will steal for my own uses!), we have pathos and a considerable sadness for what was lost by the industry. Cutting corners does not a classy venture make!
1 of 1 people found the following review helpful.
An amazing book!!!
By Albert M. Burdge
The Naked Truth by Jean-Pierre Dorleac is a fantastic read. It follows the life of one of Hollywood's best costume designers of all time. Even if you don't know the man, you know his Academy Award-nominated work in the film, Somewhere in Time, and his eleven-time Emmy-nominated work, winning for Battlestar Galactica and The Lot.
The reason I read this book originally was I am a huge fan of his work on the TV show, Quantum Leap, designing for the futuristic neurological hologram Al played by the amazing Dean Stockwell, as well as his beautiful designs for the rest of the cast that really transported the viewer to whatever time and place Sam (Scott Bakula) leapt into.
While reading this book, I found it to be a fascinating, honest, and most of all a fun journey through the ups and downs of a career in the TV and Film business. Some of my favorite parts of the book are the behind the scenes stories of the people Jean-Pierre met and worked with.
I recommend The Naked Truth to anyone, whether you have a fascination with costume design, or don't know muslin from silk.
It's the kind of book, that once you read it, you want to buy copies for your friends, and tell everyone you know about it, so they can share in the same incredible experience you did.
Thank you Jean-Pierre for writing this book and sharing with us!
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