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Making mr right nude11/13/2022 ![]() The empirical data were derived from a large-scale market research initiative from Germany with 61,399 consumer evaluations of 147 real ads from 16 product categories. This study, thereby, offers a framework for the appropriate choice of seminude or fully clothed human stimuli based on advertisers' objectives and consumer–model gender interactions. The goal of this study is to disentangle the effects of opposite-gender and same-gender nudity on female and male consumers' reactions. However, the empirical evidence concerning the effects of nudity on consumer reactions is inconclusive. "In fact, I was very happy the next day when they decided they needed a pickup shot.It is often assumed that exposure to nude stimuli in advertising influences consumer behavior positively. "I thought it was going to be this closed-mouthed Disney kiss," says Magnuson. Can we do it again?"' She felt the same way about John Malkovich in Making Mr. "I kept feeling I should say, 'I didn't feel quite right about that one. "Who wouldn't want to kiss David Bowie?" says Ann Magnuson, who had the opportunity to do so in The Hunger. Given the difficulties involved, do actors actually enjoy screen sex? The answer is: Sometimes. When they finally got around to doing the love scene, they were racing against the clock, "we had to shoot the whole thing in one long master shot," says McBride. the day of the love scene, the stars, both known for their professionalism, were so paralyzed with nerves that even the most minor scene required 20 takes. On the weekend before the love scene, Ellen Barkin and Dennis Quaid's single rehearsal was "a nightmare," says McBride. Like many directors, he put off the scene until the end of the shoot to give the actors time to get to know each other. Director Jim McBride believed that the Big Moment in The Big Easy was destined for disaster. Inevitably, the outcome of a love scene must be left up to a higher power, despite everyone's best efforts. If there's antipathy between your actors, you're sunk." "But you can only grow things where the soil is fertile. "A clever manipulator can play matchmaker between the actors," says one director. If the actors become romantically involved, all the better. There is no substitute for the magic of sexual chemistry to make a love scene work. Says director Scott: "I told (Cruise and McGillis), 'We can't do anything with your bodies, so let's see what we can do with your mouths."' Tom Cruise and Kelly McGillis' spittle-streaked kiss in Top Gun was designed to get maximum titillation within the PG framework. The actual form a love scene takes can be dictated by the dirctor, the producers or the studio. "I think the physicality of blocking the scene out," says Deitch, "made it clear to all of us what we were supposed to be doing." On the other hand, Donna Deitch, who directed Desert Hearts, a lesbian love story, thought it better to engage her principals in "months of conversation" and then choreograph every move of her two actresses, Helen Shaver and Patricia Charbonneau (who was also pregnant at the time). I think it's better when the actors are a little bit tense and apprehensive." You're sitting around under the sheets while people go around adjusting the lights. "When you get them comfortable," agrees first-time director Sollace Mitchell (Call Me), "what that usually means is that you're getting a little tired doing it, a little bored. Lyne didn't want "one more scene seen to death, your statuesque rolling-around-in-the-sheets." "I'm a great believer in keeping as much spontaneity as possible." Thus, the kitchen sink. "I think the less you tell them about the scene the better," he says. "The main thing," continues Ardolino, "is to get the actors' trust, reassure them you won't do anything that will make them look bad or cheap."Įvery director subscribes to a different method of distracting actors from their primary worries, which are "Does my tummy look OK?" "Will the audience laught at me?" and "Am I doing this right?" Adrian Lyne breaks out the champagne ("It makes 'em feel good!") and keeps the mystery quotient up. Mindful of Grey's self-consciousness, Ardolino shot only a few takes, kept the light level low, and placed the camera as far from the actors as he could. So Ardolino, who did not have cotnrol of the final cut, got a Vestron executive to give her the guarantees she wanted. During the filming of Dirty Dancing, a skittish Jennifer Grey, says director Emile Ardolino, "wanted to wear Band-Aids." Presumably, this was the actress's way of rendering any exploitative footage unusable. ![]()
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