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Geoffrey Gould
Reports from the set/s...

''Ghost Whisperer''
episode 2.5 "A Grave Matter"

Thursday, August 31, 2006
I was called by Robert at Central Casting, asking after my availability for a following Tuesday interview over at Universal, for my possibly photo doubling for actor David Paymer!
Now I should point out I am bit of a fan of character actor David Paymer: he has excellent comic timing, but can do dramatic as well. He had a (sadly short-lived), TV crime series in which he was the head of The Mob, and just in its the TV trailers, you could tell this character he played was a guy you don't want to upset...
I was told if selected, it would work two or three days or so the following week.

Wednesday, September 06, 2006
Universally speaking
The interview for the David Paymer photo doubling gig for Ghost Whisperer got rescheduled. Originally Tuesday, it got moved to Thursday, then I learned it was moved to today as (as someone at my calling service mistakenly said), I had "made [myself] unavailable for Thursday," whatever th'heck that meant. I'd said no such thing. I was/am available every late-afternoon this week, and having learned They Will Use Me On Friday, I already arranged with my temp assignment that my last day of the assignment would be Thursday, not Friday. Thankfully Friday is one of the two "least" amount of Needed Work, regarding databases. It can easily wait to Monday for the return of Joanne (in whose stead I'd been temping).
At least now the interview was set for 4:00pm, which is better than the 3:30-4:00pm "time window" I'd had for Tuesday, which would have had me miss an hour at my temp assignment. Leaving work about five minutes early, I could make it to Universal by about 3:35pm, and get through security and to my scheduled sound stage before my 4pm appointment.
The hotline I'd called on Friday indicated a hair-trim, and a goodly amount of ghostly make-up. While I've asked my calling service to relay my having no problems with my hair being trimmed, clipped, cut, sliced, diced, shaved, coloured or sheared, I'll mention it if they happen to ask. If they inquire after any concerns regarding substantial make-up, I'd already printed out and (along with my 8x10 and resume, should they want that), had with me a colour photo of me from the indie short Bad Blood Days (though not the one with Devon in my photo gallery here), which would more than demonstrate my having no issues with special effects make-up/s.
So I arrived at Universal just before 3:30pm. I find my way to the proper stage to find it vacant, and no one about in nearby trailer offices. I call my service and learn from Nadine that she was telling me they were moving it to Thursday, not today!
Sure enough, when later I called my pager voice-mail she does mention their wanting to move it to Thursday, but I went off track with her Bizzaro-World non-sequitor about "my" making myself Unavailable for Thursday (?!). I was already off point from the briefer part of the message that they wanted to move it to Thursday! D'oh. Then I discovered the true source of the communication problem. Nadine began saying how we "talked long" about my availability... but I recall nothing being said about Thursday other than My Telling Here I was in fact available Thursday as well as Wednesday.
BUT... all she told me was that she would Check With Them about (my being available) Thursday, and then she never called me back (last night). When I spoke with her today, she even said they were going to Call Me Tonight to tell me it was on for the next day. Oh thanks; all I knew about was Wednesday... (now) I was already there, a full day early [bg]....
Oh well. I'd rather be 24 hours early than 24 seconds late [vbg]...

Friday, September 08, 2006
Back to New York!
That is, back to the New York Street Set at Universal Studios backlot...
To my great annoyance, the 163 bus that'd take me to the Muddy Waters entrance at Universal was late.
Very late.
Late to the point I was there with two or three minutes to spare instead of my usual thirty-five.
I was signed in by Rachel, and after I'd eated breakfast (where I saw and met David Paymer), PA Curt Bergman saw me to the hair/make-up trailer.
After they had done their work on David, I was brought in. As what hair I have left grows fast and thick, there was a goodly amount to cut to match David's hair length. He has more salt and pepper than I expected, but his was darkened (as was mine to match), and hair pieces were added to each of us.
David plays Adam in the episode, whose ghost reflects (three) different stages of the physical form from which he left, sort of like Griffin Dunne's role in American Werewolf in London in reverse. I was never given sides so at the time I'm wasn't sure if he was burned or (as David later told me), actually struck by lightning (it's actually a combination of both). As a line he has (in the one scene on which I worked), implies he comitted suicide, I think such a method would be highly unlikely (ableit extremely creative..).
I watched as the talented and pleasant make-up ladies Kandy and Kim Perrodin and Karyn Huston. The quick quipping Michael Ward was on hand not only to be very funny but with insightful and helpful comments on the work as it progressed.
When they got to me, Kandy Westmore introduced herself. "Westmore as in 'Bud Westmore'...?" I clarified.
"He's my uncle," she told me, throughout the day referring to him as Uncle Mike. We went into the (probably expected) conversation/s about Star Trek and its various incarnations. But Westmore has worked on all except I think she said for Enterprise, which explains a lot [bg]. Kandy worked on Star Trek VI (The Undiscovered Country), and indicated how surprised she was to learn that the Star Trek languages (Klingon, Vulcan, et al) are actual languages, and that they had a linguist on the set.
"That'd be Marc Okrand," I pointed out, and while I didn't point out Klingon is one of the fastest growing second languages, I did tell them about the Klingon Language Institude and Marc's English/Klingon Dictionary and how the audio tapes "for it" are actual practical study and learning tapes, simultaneously as it generally satirizes language study programs, on how Terrans (eg, the listener) might be able to converse if visiting the Klingon homeworld.
"You've uh, obviously spent on some time on this..." one of the ladies quipped.
Today, mostly, was character Adam's Stage Two make-up. I learned that Stage One was burned-beyond-recognition, and presumably Stage Three is a Pretty much Just Fine state.
Stage Two is sort of a Slightly Singed look (certainly compared to Stage One). We were toasted-browned, a bit of a scar on the forehead, ears near melted, but the ladies really went to town on the hands. Using a liquid from a tube, when it dries (and it dries quickly), it forms simulated raised scar tissue. By the time she was done with the black and red and the scar-tissue stuff turning a bit orange, my hands resembled Cheeseburger Macaroni Hamburger Helper...
While I had been waiting to be made up (understandably they wanted to be done with David before starting on me, so as to match me to him), Curt had come by again, and it occured to me I could put on my wardrobe first. I was shown to a honeywagon where I had "my own" dressing room. Inside was the identical outfit to what David would be wearing. The large-size boots were actually quite comfortable. At the interview I was told they'd be a size eleven, and I can most comfortably fit in size eight and a halfs to nines, depending on the footwear.
While being worked on, I learned from Kandy that it was Bud Westmore who created the Gillman suit for The Creature from the Black Lagoon, and she was surprised to learn it was being shown in its original 3D at the Egyptian Theatre this weekend. while waiting for the late/never showed 163 bus, I had acquired a this-morning edition of The Onion, and while it does contain satire articles that put to shame National Lampoon back when it was actually funny, The Onion does contain local event listings and even a few comic strips, including (but not limited to) one of my favourites.
As I'd read through the edition on The Onion and the event was time-sensitive, at the end of the day I gave Kandy my copy; she was certain her Uncle Mike would be interested to know about the event.
Apart from the thickness and length of my hair being removed, a small section up top was taken off (not as "bad" as The Man Who Wasn't There), but enough to notice, after shampoo'ing out the hair colour. This was done to provide me with the similar hairpiece.
Lunch was okay. Sort of a prime-rib, or at least a steak-cut, each piece of which was a third bone.
At one point script supervisor Suzan turned about and came face to face with me and, seeing my elaborate burn make-up, smilingly asked, "What did you have for lunch...?!" [bg]
Later from a few others I heard how disappointing was their meal, and how near-pointless was the craft services. I barely got to craft services, not wanting to be unfindable, but I was impressed at their having enough cans of soda of which they'd never run out. I've been to sets where craft services had "nothing" for me to eat, but as long as they have soda for me to drink, I'm fine [g].
After lunch, we rehearsed the scene, taking place in an alley.
The lovely and talented Jennifer Love Hewitt (as Melinda), walks by and sees Adam in the alley, and beyond the alley they continue to converse on the sidewalk.
At one point it is I who is in the alley.
At the interview the day before, I met director Eric Laneuville, just as I was with DP (Director of Photography) James Chressanthis, who told me how he wanted me to face, to see just enough of my jawline and nose. Eric later told me to turn right to Jennifer as she came by with her first line. He didn't mention this to James who, after a rehearsal run, came to tell me not to turn all the way, and I had to say Eric had told me to do so. Eric quickly told James he wanted An Overlap of action (I presumed for editing).
Jennifer, David and I were sent back to make-up for Last Looks; a transport van was provided, which the three of us pretty much ignored [g], as make-up was so close to which to walk. While David and I didn't dawdle, Jennifer's strong stride had her make us look like snails. I took the opportunity to discuss with David his series Line of Fire, and how impressed I am with his dramatic abilities, considering how often he's known for comedy.
The make-up ladies declared us okay, and we returned to set. I'm not sure if it was after one of the camera rehearsals or as we'd begun shooting, but after one such, Jennifer glanced at me and smiled, as though realizing she and I were working together and she hadn't really been noticing the fact that as Adam, I was separate from David Paymer, so she quickly stepped up and very pleasantly introduced herself.
"I'm Jennifer," she said, as we shook hands.
"Geoffrey," I replied. Accurately deducing I might not have any other opportunity to mention it, I mischievously added quickly, "If you toss in your Garfield DVD tonight, you'll see I'm the Milkman at the beginning."
Jennifer's entire face lit up and eyes and her fantastic smile beamed as she repled, "Oh my God, that's so awesome...!"
Later as they worked in tighter close-up with Jennifer and David, I sat by Video Village, the area at which the director and production team watch on monitors what the cameras see. There the pleasant script supervisor Suzan Lowitz introduced herself. "That's Suzan with a 'Z', correct...?" I said, enigmatically.
I almost got her, but she leaned forward a bit more to notice her own name is right on her chair [bg]. "Sorry, I'm observant," I joked.
"That's good," she said, pointing out such comes in handy with mimicking David's body language. I had done my best to imitate his way of looking about, a bit confused. Ironically, they filmed me first, which technically meant David would have to imitate me. All on which I had to go was watching his rehearsals from where I'd be standing. My concern about my hands' positions evapourated when I saw on the monitors that they were filming his line as a tight close-up of his face. (I had had my hands slightly up, as had David, but at the time he had had the revised script pages in his hands.)
During our conversation, Suzan and I learned we had similar interests, including but not limited to Ren Faires. She told me the footage they took of me (plus what we know will be done with the shot/s), looked Nice And Spooky.
When the scene (scene 14), was completed, David and I went back to hair and make-up, our learning they would now go to Scene Seven, which we learned would be the Stage One make-up. The make-up ladies were not thrilled to learn this as somehow this had not been brought up earlier in the day. Understandably as cleaning me up was not as priority as doing up David (I would not be needed for this sequence, tonight), I waited patiently and watched as the ladies made him "unrecognizable," which was their goal. By the time he was done, he had a lot of attributes of a burned marshmallow, but I kept getting the image of an Uruk-Hai if it were an Uruk-Hai Accountant [bg].
While I knew they'd be filming well into the evening, Curt came in and announced I was done for the day, and reconfirmed that I'd be back next week, confirming Wednesday and Thursday, though understably having no idea as to a calltime. I went back and changed into my civies as I waited for them to make David into a charred cinder. When Curt retrieved him for some rehearsing, they got to work on cleaning up me. When David returned, Michael noticed the "hair was wrong," and as they continued to work on his face, Michael worked diligently on the hair for it to be more believable at this stage of his condition. I had noticed back in the trailer there was now a second set of wardrobe, which had not been there this morning, as well as a second set of boots. The tag on the one I'd worn today I know noticed indicating it as Stage Two. The tag for the other set of clothing declared itself for... Stage One. This reflected that I would be getting to be burned-marshmallow'ed myself at some point the next week...
Rachel signed me out, surprisingly signing me out at 7:30pm I noted later (it was already at least 7:35pm, but as I got a goodly bump for the hair/make-up, I had little reason to quibble). I gave her my contact card, as Curt and I had discussed earlier, as well as giving one to Suzan as she and I had also previously discussed: I also gave Suzan the promo card for Strictly Background, in case she has time to check it over the weekend/week before we next saw each other.
Rachel had transport bring me to the Universal front gate so I could take the Red Line home.

Wednesday, September 13, 2006
Day Two
I got the location and calltime in the late afternoon Tuesday... for 6:30am... Griffith Park.
The first bus (the 96) running through Griffith Park doesn't go through until well past 7am. The route bypasses the park completely, its first three or four routes of the day. I do take the 180 bus regularly, so I was aware it at least stops at Riverside at the park's entrance. But I had no way to judge the distance from the entrance to the crew parking near the carousel. So I got up at 3am, walked the mile to Vine (as quite some time ago the MTA morons decided starting the 180 bus route from Hollywood and Orange was far too easy and convenient for its central-Hollywood riders, so now it starts a mile away from that point), and took the bus that leaves at 4:11am, and got to the park's entrance at 4:30am.
Hiking in, I arrived at the crew parking by 5am. D'oh. Had I known, I could have taken the hour-later bus and got there at 6am for my 6:3am calltime, but whatever. I was already there. At base camp I was presumptive enough to use my trailer changing room in which to relax for the hour. I had my breakfast at 6:15 and Rachel arrived just about as I finished.
I got my voucher and went to change and waited in the changing trailer for the make-up ladies to be ready for me.
The Stage Two make-up today seemed a bit more sedate than it had been on Friday, not quite as toasted brown.
I was shuttled to the location which was a small glen hidden off on the side within the massive golf course. I was needed almost instantly on my arrival; another case of Adam bi-locating, which should look quite nice (I'll get into more detail on that after the episode airs).
Between shot set-ups, I waited by where the crew were set up just off to the side. Suzan was there, and we were pleased to see each other. Director Eric Laneuville, at one point, was referring to David Paymer as Adam to someone, and pointed/making reference to me. Suzan found this understandably amusing and smilingly made mention to him that I was Geoffrey, not David. (The affable Eric, btw, has one of those smiles that could uplift anyone seeing it.) A bit later as I stood by the jeep being used for one of the shots, Jennifer was passing me to go to her first position and pleasantly said good morning and that it was good to see me again.
The scene was completed around 11am or noon; I didn't check my pager (which, while switched off deep in my pocket, I didn't think to check it when my aspect of the scene was complete), as Eric announced I was told I was done for the day. Barely a smattering of applause [bg], as few people actually heard it, so I said my goodbyes to Suzan and Eric, to whom we exchanged See You Tomorrows. I was already aware the next day/Thursday would be back at Universal, and there was talk it'd be an afternoon call into the evening. They had one more close-up or such with either Jennifer and/or her costar Daisy Eagan (playing Kate in the episode), but it was announced there'd be an early lunch after they finished that bit.
David and I were shuttled back to basecamp. "So you're done for the day?" he asked.
"That's what Eric an'all said," I replied.
"Hey, when they say wrap, run for th'hill..." David joked.
"Well, I tend to live for Overtime," I pointed out, but I really wasn't too disturbed about the early wrap. I could catch the 96 bus to my rental box and from there head home.
Back at basecamp David and I had lunch; he took his back to his trailer while I braved the flies and bees checking out the awesome ziti-type pasta lunch they had, with fantastic Alfredo sauce. Their meatballs were also amazing, one of the best set lunches I can remember. The rest of the crew arrived and I was joined at the table by Shannon, who is Jennifer's stand-in and photo double, and we chatted a bit. They were going to do her up to double for Jennifer a bit later. (Jennifer is referred to and called Love by those in the crew, but when she had initially introduced herself, she didn't say to call her Love, as I would say call me Badger, so I won't be presumptive in that aspect.)
The make-up ladies had been on set; David was still needed, so I changed into my civies, and onec David had been touched up, I went in for them to clean me up.
Rachel came looking for me, aghast they had already begun cleaning me up. "He was only broke for lunch!" she declared. Having been on set and heard Eric's announcement and thanks to me, the make-up ladies all concurred with me to Rachel that, as far as we all knew, I had been wrapped for the day. "Who told you you were wrapped?" Rachel asked.
"Eric, who thanked me and said he'd see me tomorrow," I clarified, now rather puzzled. Curt, who diplomatically indicated I was in fact, needed for more today. So the ladies re-did my ear (and by day's end I was able to get two and a half hours overtime).
Not surprisingly, they didn't just get to my shot and be done with me. I relaxed in "my trailer," until I learned they were going to take away that honeywagon. Good thing I'd been inside it, otherwise my clothes would have been taken away with it. Curt gave me the trailer room next to David's room. "You're now 'Kate'," Curt joked, as that'd been her room. It was a mini version of my trailer I'd had for my Day Player gig for The Practice. Jennifer and David went off in a camera car to be towed about as they did their dialog.
I relaxed in "my new trailer" until called on around 4pm'ish; I had come out just about when the camera-car truck had returned.
Now they wanted a drive-by. Jennifer and David were each done for the day, and Shannon and I would drive by in the same jeep that they'd been towing, as either a cutaway shot and/or establishing shot. They set up the camera along a part of the park's main road, and we... just drove by. 2nd 2nd AD Dan Leatham was sunk down in the back seat to relay info to those with the camera. It was done in two takes as another car to be in the shot wasn't quite in its correct position... For the second and We Got It take, we were in the right lane, not the left as with the first pass.
We were told to head back to basecamp; we spotted Eric and Shannon picked him up.
Now we were truly done for the day, and I got the make-up removed, and changed into my civies. Rachel signed me out, with the nice, same bump. She arranged with transport to drive me to the park entrance so I wouldn't have to hike a half hour from crew parking. On the way to crew parking, Suzan indicating being in Hollywood herself. I half-jokingly asked if she could give me a lift, to which she agreed. It's the first time a crew member gave me a lift, usually I can find a background worker, but today there was no background. Suzan and I had a great conversation and I was home by 6pm, far earlier than had I had to wait for the 180 bus, let alone catch the 217 from Vine or from any point along Hollywood Boulevard.

Thursday, September 14, 2006
Day Three
Shortly after getting home the night before, my calling service paged me to notify me of "a calltime change:" to 3pm. I checked the callsheet Curt had given me to make sure, and called to confirm that that was the calltime I already had for Thursday.
According to my calculations, catching the Red Line no later than 2:30pm would get me there in plenty of time. Then, when I'd stepped from the shower at 1:15'ish, my calling service called, urgently requesting I contact them. It turned out they were "ahead of schedule," and wanted me to come in As Soon As Possible. I was put on hold, and my pager went off. (Using my cell phone to check that message, while still on the line [and on hold], with my calling service), it was the production company itself, being even a little more ugent, requesting I call back and that I get there to Universal as quickly as possible. I threw on my clothes as my service got back on the line and I told them the production had just paged me as well, and that I was on my way. I called back the production company and was asked if I could make it by 2pm. I reported I was on my way and that I'd catch the next Red Line I could catch and be there as instantly as I possibly could.
I ran to the Red Line, caught the next train with seconds to spare, got to Universal, thankfully no delays at the security gate, and ran to the sound stage, short-breathed and gaspingly arriving at 1:50pm.
And there was no one there.
That is, there was no bustling of activity. And at the production chairs, only one or two people, including Suzan and a couple of others. But few others at all. The three was a bit occupied, so I wondered if I should disturb them. As one of the production people spotted me, he got on the radio to let everyone know I Was There, then he told me everyone had broken for lunch.
I was baffled. Less than forty-five minutes ago I was needed Right Then, and now they were all at lunch and would be back at 2:45, the very time I'd have been arriving for my 3pm call?
Oh well. That happens. At least I was there and on hand.
At the end of the night, my voucher declared my 2pm sign-in, and only reflected the first meal with which I needed to worry was at 10:30pm. The current "lunch" technically didn't concern me, nor was it put onto my voucher (so it didn't say 2pm arrival with a 1:45-2:45 lunch), but it also turned out to be a Walk-Away, which I didn't expected either. A Walk-Away lunch is where one just forages for one's own lunch if it hadn't been brown paper-bagged. Thankfully with an original 3pm calltime, I'd had a meal at home just before I showered. Now not hungry, once again I didn't partake in the Universal Studios commissary. I wandered a bit until they were Back In at 2:45pm.
I had been shown where was my changing room, also in which I waited. Around 2:30 I was back at the soundstage, acquiring some munchies and soda from the craft services table (a much better selection than from Friday), and, spotting Rachel, I let her know I was there. She asked if my wardrobe was in my changing room, which it wasn't ("Or I would have already changed into it").
It was brought a while later, indicating Stage Two make-up. I changed into it, and eventually was called to the make-up trailer. There was some slight miscommunications with make-up, possibly due to there being a First Unit and Second Unit each filming. Apparently for what they had thought they needed me they'd changed their minds, but wanted me for Something Else. It was stressed it would be an over-my-shoulder shot, so only my hair and ears needed to be done.
Then when I was done, it was relayed that they needed me for a different shot, another drive-by, and for that, as I'd be zipping by in a car, only to darken my face a bit.
Then once that was complete, someone came in saying I was to be done up full-on Stage Two, which slightly began to annoy the make-up department, as that was substantially different than each previous What They Want Nows.
I was shuttled up to the fake lake with the sky panarama, and to what is now called Mummy Curse Road (the long rotating tube, which used to be the Ice Cavern, and then a Volcano, et al; now it's rocks to simulate the walls crashing in). Shannon and I did the same thing we did at the end of the day before, only now it was to have us go by a sign indicating "Claremont." We did it for like two or three takes, then she did a couple or so without me in the jeep. When I was done and waiting, I could hear in the near distance, several coyote yips.
Before I was escorted back to the shuttle van, Second Unit Director and producer Kim Moses pleasantly introduced herself to me, thanking me for my work on this episode.
I was shuttled back down to make-up, the current news coming down that this Was It: the Stage One make-up. As they worked on me, David came in to have his Stage Two make-up removed for his Stage Three look. For my Stage One, the styrofoam trick was used: acetate on bits of broken-up styrofoam cup melts it, causing a thick, scab layer over the scar tissue and coloured make-up. (As I thought to check, they started on me at 6:40pm; Kandace was done with the Stage One make-up on me at 8:25pm.)
Wow. It was awesome. I felt bad it was far too late for any tourist studio-tour trams to come by [bg]. Earlier on I'd met "Kentucky," the PA working on Second Unit the way Curt worked First Unit. Technically his name is Jason, but as he put it, the name Jason goes in one ear and out th'other with him: he almost always only answers to Kentucky. I pointed out my friends call me Badger, and that that gets my attention even faster than Geoffrey. He liked the name Badger, and the background the moniker represents.
I was under the impression they would begin to do up David as Stage One now that they were done with me. I was allowed a changing room in which to relax. Kentucky notified me when the 10pm "lunch" was served, which was a fantastic tri-tip steak, as well as Scalloped Potatos, which still was a bit tricky to eat with all the make-up on every centimeter of my face.
Around 11:00 I was retrieved to go down to make-up for touch-ups. There were but a few. With all the time elapsed, the scar tissue had slightly separated here and there, as Kandy and all had anticipated.
Just as they were finishing with me, David came in, all nice and clean, and about to have his Stage One applied. I'd had the stuff on for three hours, and they'd scheduled David to come in at 11:30pm for his make-up. Well, at least it wasn't overly uncomfortable. I could definititely feel it was On Me, but not terribly so. I did notice when the jagged, burnt edges of my sleeve dug at the make-up caught hairs on the back of my hand. Thankfully, I was able to drowse while in the make-up in the changing room I was given as I waited.
Second unit was setting up the stunt. Eric was back up there to direct it. Actor Peter Friedman is a principal in the scene, witnessing Adam fried by lightning. Then I realized that, with Adam being struck by lightning (not as suicide, just hit by lightning), there would be rain. A rain bar was at tree level as the stunt guy did his reaction and fall to being hit by (post-production added) lightning. (For during the rain, there were manually flashed lightning flashes from above.)
David was brought up to set around 2am.
I was set where the stunt man had fallen, and I was arranged so the light fell properly on my face. With the elaborate make-up and crispy clothes, it was difficult for me to get down and up without assistance.
After a few blocking and a few camera rehearsals, we were set to go. The one thing I regretted was not thinking of their using rain: I had on my own set of underwear, without a dry change. Wardrobe literally sprayed me down with water before the take so I was already appearing wet. The first take or two the rain mostly was hitting the trees.
The rain bar was moved, and by now the leaves were soaked enough that all the rain plunked into my face and all over me. And it was cold [g]. After a couple or three takes, the camera was reset. It was noticed I was shivering (though during the takes I tightened up my muscles so I wouldn't shake), and I was brought to a heating unit that was quickly provided. Friendly set medic Sheila Louie stayed with me while I warmed up (earlier she had also "had lunch with me").
I was brought back to my spot where I lay down on the dirt again and got a few more impromtu showers [bg]. The first time, Ketucky was on hand to lay towels and a jacket over me for warmth. Now, I was soaked through. Plunking down the same materials pushed the now freezing cold clothes I was wearing onto my skin. I could only laugh at the irony (thanking him but pointing out placing stuff on me was now counter productive [bg]...), and I had to wait it out. Various crew members helped by suggesting/pointing out in about an hour and a half I could/would be home drinking whisky (almost made me wish I enjoyed alcohol [g]...). As it was I did wish I'd had at least five drops of brandy to place on my tongue, as years ago when I tasted the not too bad liquor on a cold New Years Eve in Connecticutt, I could feel my capillaries instantly slamming open.
As a new ghost, blasted out of his body, David as Adam watches helplessly as Peter Friedman "checks" my pockets. Each rain fall didn't seem as bad as the one before, and I have to commend myself I didn't flinch as the many many cold drops hit my face throughout the scene. But I was still shivering near-uncontrollably between takes. At one point I heard [I'm pretty sure Eric] stressing in horror that they had to Take Care of [their photo] double (my bump for the night was about 125 percent more than the previous days' make-up bumps).
When we were done, I was quickly helped up to be shuttled down to get out of the wet clothes. Eric profusely thanked me again for my work. Come November he'll be off directing episodes of Lost. In the van, David began pulling off strips of scar-tissue from his face.
It was more difficult to change than I had anticipated. The now wet make-up was a bit messy, which I noted as there were stains on the large towel Kentucky had provided. Once into my own clothes, even the moist underwear wasn't that big a deal. I carefully hung up the two sets of wardrobe, made sure I had everything, and headed to make-up where they began removing all the make up.
Earlier in the night, as I lay soaked on the ground, Kentucky graciously offered to drive me home as the Red Line wouldn't start (at least wouldn't pass through Universal Station) until 4:35am. With the make-up 99.99999999 percent removed, the make-up ladies and I were signed out at 4am. Kentucky had to go back up to the set, and we chatted about this and that.
Up there, Electric was packng up and Kentucky went to sign out some of those at the other truck. While waiting for those of Electric at the truck by the honeywagon, Sheila told me she'd be having an interesting Friday: she would be off to work on the new series Heroes. Little or no sleep for her; ack.
Enough time had passed that when he shuttle van came back again; I figured I could catch the first Red Line, I went and thanked Kentucky (still trapped, working on department paperwork, signing out crew), and I headed back down. Annoyingly, the first Red Line didn't come, or it went through well over five minutes early. I got home by 5am, showered substantially, then hit th'hay.

More of the episode
In the second season DVD set, Bonus Features includes but is not limited to Ghostly Visions on make-up effects, as well as specific background on the A Grave Matter episode, the latter featurette of which shows the shot of me in the alleyway.

Geoffrey Gould in Stage One make-up for ''Ghost Whisper'' episode 2.5 ''A Grave Matter''
Geoffrey Gould in Stage One make-up
for Ghost Whisper episode 2.5:
A Grave Matter
Geoffrey Gould with David Paymer as his photo-double for ''Ghost Whisper'' episode 2.5 ''A Grave Matter''
With David Paymer as his photo-double
for Ghost Whisper episode 2.5:
A Grave Matter
Geoffrey Gould as the Adam photo-double in ''Ghost Whisper'' episode 2.5 ''A Grave Matter''
Geoffrey Gould in the fake rain,
as best seen as the Adam photo-double
in Ghost Whisper episode 2.5:
A Grave Matter
Geoffrey Gould with ''Ghost Whisper'' make-up wizard Kandice Westmore
In the Stage One make-up,
Geoffrey Gould with Kandice Westmore
for Ghost Whisper episode 2.5:
A Grave Matter

Ghost Whisperer:
Season Two


Ghost Whisperer:
Season One

Ghost Whisperer:
Season Three

Ghost Whisperer:
Season Four

The Ghost Whisperer:
Season Five

Ghost Whisperer:
Complete Series Pack
(seasons one-five)

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