Tom McLaren, Actor and Author, Looking Forward to Upcoming Releases – by Lorraine Dmitrovic

When Tom McLaren set his sights on Hollywood, he never looked back. To follow his dreams, he left successful careers in the corporate finance divisions of Twentieth Century Fox and Warner Bros., and since 2011 he’s racked up over 150 professional film and commercial credits on the IMDb – with more feature films and other projects coming down the pipe.

McLaren has one of those faces the camera loves. And talk about versatile. One day he’s in an indie horror film. The next week finds him shooting a print ad, filming a commercial, recording a radio spot, or “appearing” on an audio CD. He’s played naive, trusting husbands, believable dads and experts in white lab coats, and policemen and priests with goodly authenticity.

Tom McLaren - Tom McLaren, Kristina Hayes and Cameron Dallas on set in Expelled (2014)

Tom McLaren – Tom McLaren, Kristina Hayes
and Cameron Dallas on set in Expelled (2014)

To view my review on Yeahflix:
https://yeahflix.com/tom-mclaren-actor-and-author-looking-forward-to-upcoming-releases/

He’s best known for three movies that are available on digital and streaming platforms worldwide. Says Tom, “Expelled (2014), Exorcism of Molly Hartley, and Santa’s Little Helper (both 2015) are certainly the biggest movies I’ve been in so far. They still ‘live on’ in worldwide distribution. Here in the US, Expelled is now in its 4th year on Netlfix. Exorcism is just about to leave the 2-year deal with Netflix to move to TV syndication. Santa airs on the USA Network every Christmas.”

Tom McLaren - Expelled on Netflix photo

Expelled promo photo on Netflix
_________________________

To view the Expelled official trailer, shared from Cameron Dallas –
https://www.youtube.com/watch?v=S2OnLOPQ1gk

Interview with Tom McLaren

Lorraine: How did Expelled (2014) come about, and what did you like about playing the dad?

Tom: It was quite a surprise. I met my movie son Cameron Dallas at the table read, had no idea he was an internet superstar with tens of millions of fans all over the world. When Cam promoted Expelled on his social media, we exploded. After the theatrical release, we opened on iTunes as the #1 best selling movie, beating out Guardians of the Galaxy and The Maze Runner, staying in the top 10 best sellers for about a month. To this day, Expelled is one of the most successful digital movies of all-time. Playing his dad was a gift, and I received such an outpouring of support from Cam’s fans. There wasn’t anything in the scripted character in my backstory, so I chose to make him the nice, pretty well clueless dad who unconditionally loves his sons – who’s the complete opposite of the distrusting mom. It was great fun doing those scenes with Cam and Kristina Hayes.

Lorraine: You’ve been cast as a priest a few times. What did you draw on for those roles?

Tom: Anytime I’m cast as someone with focus and determination it seems a natural fit, because I do the research and take the role very seriously. I value professionalism, whether I’m playing a priest, a doctor or a CEO. In Exorcism of Molly Hartley, I wanted my Father James to appear as a very experienced exorcist, in contrast to Devon Sawa’s novice character. That was my first studio film. I’ve been lucky to work with some great actors like Devon. (As well, from Santa’s Little Helper, Mike ‘The Miz’ Mizanin, is truly awesome. Randy Wayne, my son in Death Pool, is also a fantastic guy.)

Tom McLaren - Filming the Twentieth Century Fox feature film Exorcism of Molly Hartley with director Steven R. Monroe and star Devon Sawa (2015)

Tom McLaren filming the Twentieth Century Fox feature film Exorcism of Molly Hartley (2015) with director Steven R. Monroe and star Devon Sawa
(Photo: © 2015:  Twentieth Century Fox)

Lorraine: You’ve appeared in many print ads and commercials, some of them quite hilarious. Any faves among them?

Tom: I’ve done many commercials, never realizing they’d be such a big part of my career. The Loma Linda University and SoClean spots received wide exposure; friends tell me they’ve seen them over and over. Humorous spots are the most fun to do. My “exasperated butler” in the Matago App web commercial is a particular favorite. I almost didn’t audition, thinking there was no chance to get the part as I’m not the stereotypical bald British type. But casting booked me immediately, so there you go.

https://www.youtube.com/watch?v=RVys0g_2oe4
Tom as the “exasperated butler” in a web ad from Matago App
_________________________

Tom McLaren - First look- I'm Detective Sykes in the upcoming feature film There's No Such Thing as Vampires (2019)

A first look at Tom as Detective Sykes in the upcoming feature film There’s No Such Thing as Vampires (2019). Filmed on various California locations, it wrapped principal photography in 2017. The film’s director, Logan Thomas, brought together Meg Foster, Raphael Sbarge, Maria Olsen, and Judy Tenuta with other talents Emma Holzer, Aric Cushing (co-writer), Tom McLaren, and many others. There’s No Such Thing as Vampires (2019), currently in post production, is planned to premiere at various upcoming film festivals.

Lorraine: You’re in the upcoming indie feature film “There’s No Such Thing as Vampires” (2019), cast as Detective Sykes. What do you feel you brought to the character?

Tom: There are two detectives in the film, me and Raphael Sbarge, who’s such a great veteran actor. My role was the more passive of the two characters, so I played Sykes with small-town earnestness, a guy doing the best he can. It was my first part where I carry a gun. The film should be out next year. I love the horror genre, so I’m thrilled anytime I get a chance to be in a scary movie.

Lorraine: Do you prepare the same way for an audio role such as Renfield in The Dracula Files as you do with a film role?

Tom: It was a dream come true to re-imagine Renfield. The original 1931 Dracula starring Bela Lugosi is one of my all-time favorites. Dwight Frye as Renfield was brilliant, one of the most memorable performances I’ve ever seen. The Dracula Files is an audio drama, but the prep is the same as for any theatrical role. It’s all about backstory and point of view. Fortunately, we recorded most of it as though it were a live stage play. We physically acted it out, which made it feel so real. The third and final season is due out later this year.

Tom McLaren - favorite shot from The Dracula Files (with actor Bill Castrogiovanni, he plays Seward opposite my Renfield).

Tom McLaren: My favorite shot from The Dracula Files, with actor Bill Castrogiovanni, who plays Seward opposite my Renfield

Lorraine: Are you able to share a little about other upcoming films, commercials or other roles we’ll be seeing you in?

Tom: I’ve been doing a lot of commercials and indie feature films lately. I loved my parts in two upcoming movies. I’m a husband driven to horrific extremes in the horror film 8 Days to Hell, and I’m a fallen religious man-turned drug addict in the dramatic movie The Opiate Diaries. I’m also a police officer in Miss Arizona – a female empowerment film with a largely female cast and crew – which is now hitting the film festival circuit. I’m also starting to develop my own projects, so the future is filled with possibilities.

Lorraine: You’re currently enrolled in acting improv classes. Is there ever a point where you feel you’ve learned enough about your craft as an actor?

Tom: Learning never stops for an actor. I always say that every gig is worthwhile, because I learn something new every time I step in front of the camera. I take classes every year as well. An actor has to fine-tune a wide skill set, because performing is very different in classes vs. auditions vs. professional jobs. It’s best to experience as many various situations as possible, the more, the better.

Lorraine: Was it a natural step for you to co-author Styling the Stars: Treasures from the Twentieth Century Fox Archive with actress Angela Cartwright, whom the world knows as Penny from the 1960s sci-fi TV series, Lost in Space and as Brigitta von Trapp from The Sound of Music (1965)?

Tom: This book was a dream project. It came at a time in my life after I’d quit my corporate career, but before I started acting. I was looking for a creative outlet. Angela and I had been friends for many years, and she called me one day with this book idea. She knew I had a business mindset, coupled with a love for classic movies and showbiz facts and figures. It was a long and complicated journey to bring the project to print, and we’re both very proud of it. The feedback I’ve received from book and movie lovers all over the world has been amazing.

styling the stars softcover 2017 (589x800)

Styling the Stars: Treasures from the Twentieth Century Fox Archive
by Angela Cartwright and Tom McLaren

Yeahflix - Tom McLaren with Marta Kristen-Kane and A Cart Fox lot near one of the LIS soundstages a book signing of Styling the Stars (the book Angela and I co-authored).

Tom McLaren with Marta Kristen and Angela Cartwright on the Fox lot near one of the Lost In Space soundstages on April 6, 2017 for a book signing event of Styling the Stars, the week it was released in softcover.

Review article text and questions © April 2018: Lorraine Dmitrovic

 

 

 

Advertisements

Review of Styling the Stars: Lost Treasures from the Twentieth Century Fox Archive + feature interview with Tom McLaren & featurette with Angela Cartwright – by Lorraine Dmitrovic

Insight Editions - STS - DONE Marilyn front cover (589x800)
– Now available in paperback on amazon.com –
https://www.amazon.com/gp/product/1683830067/ref=od_aui_detailpages01?ie=UTF8&psc=1

To preface, as related by Angela Cartwright on her website publications page:
“Styling the Stars: Lost Treasures from the Twentieth Century Fox Archive is a stunning collection of never-before-seen continuity photographs, offering readers an intimate, candid look at Hollywood’s golden age and beyond.”

Review by Lorraine Dmitrovic. (Please note: This is an objective review of the book I purchased, and I did not receive compensation.)

FIVE STARS!

The moment is breathtaking and truly unforgettable. As the actress or actor steps onto the screen, they sparkle and shine, eclipsing and stealing thunder from the mountain range scenery or the salon backdrop. They transcend the set and have luminous, glorious presence. They certainly have “it” – and something else standout special – the “style” that ultimately made them stars.

The authors, actor Tom McLaren and actress-artisan Angela Cartwright, found the magic pulse for the book when searching through the Twentieth Century Fox archives. What emerged was the amazing star quality found in remarkably pristine continuity photos of a history of the studio dating back to the 1930s. Angela revealed in her introduction that many of the photos from the 1920s, and scripts and contracts, etc., however, had been thrown out in the 1970s when the studio was downsized. Thankfully, enough excellent original material survived so that Tom and Angela could preserve the wonder of a bygone film era in the book.

Angela also concluded that growing up in the studio life of Twentieth Century Fox was like “being plopped in the middle of a small city.” The lot had its hustle and bustle of various buildings and inner workings all with the common goal of producing the highest quality movie possible in talent and visual appeal.

Insight Editions - STS - DONE Angela Cartwright Sound of Music (1965) (574x800)
Photo: Angela Cartwright, Sound of Music (1965)

Tom and Angela have created a masterpiece collection of photos from the archives, a visual log of what went on behind the scenes in preparing a cast for filming, to make them “camera-ready” and ready to make movie history. Really, movie plot aside, what do people talk about when they exit the theatre? Not popcorn or soda, but the gown that had been poured onto Marilyn Monroe, or the dapper hat carried by dressed-to-the-nines Cary Grant in An Affair to Remember (1957). (Cary also graces the back cover in bathing trunks in a wardrobe test photo for the same film.)

Insight Editions - STS - DONE Cary Grant (580x800)
Photo: Cary Grant, An  Affair to Remember (1957)

In Hollywood’s heyday, studios took every aspect of filmmaking seriously. Everything on screen and behind it was as important as the acting. Actors and actresses were groomed to be stars in every sense of the word. Eye appeal was as much a key to success for a film as talent, the directing, the cinematography and settings. Actresses and actors had to stand out against already spectacular set designs and locations. And style was a major way to set them apart from the background. Call it star power, a spell of beauty, but it comes down to a lot of designer thought, planning and hard work to create “the style” of the stars in a film.

On set, on location, even at publicity events and award ceremonies, stars often relied on fashion/costume designers, hair stylists, make-up artists and wardrobe people for touch-ups and adjustments, to ensure everything was ready, perfect and in continuity for the camera to roll. Jewellery and hats, millinery, purses, shoes and accessories, all had to be organized and kept track of during the filming of scenes. Head to toe, the stylists, designers and jewellers, and all others involved the process, had the talent “covered” and turned out to magnificent perfection for the camera and the public, who often relied on Hollywood for the next big fashion trend.

Not a single detail was overlooked in what was required to pull a look together. No pennies were pinched; every expense was worth the glamorous or the gritty effect. The mink stole Marilyn Monroe wears in the cover photo – the image chosen by Angela Cartwright herself for the cover – is real. Quality in styling is evident in the flash of genuine diamonds, in the elegant lines of designer gowns, and in the cut and tailoring of suits. Authenticity and ingenuity in costumes encouraged audiences to admire the dazzle along with the story and step into a different dark world or a beautiful dream for the price of a theatre ticket.

Maureen O’Hara’s foreward mentions a “backroom deal” to own part of her contract that brought her to Twentieth Century to star in How Green Was My Valley (1941) with John Wayne, and Miracle on 34th Street (1947). She credits Darryl F. Zanuck’s mantra of “Time is money!” and his demand that stars be “camera ready” for their roles as being major reasons for success of the studio.

Insight Editions - STS -DONE Maureen O ' Hara , Do You Love Me 1946 (575x800)
Photo: Maureen O ‘ Hara in her foreward to Styling the Stars,  from her movie Do You Love Me (1946)

It was a “look the part and feel the part” thing, really. The right clothes, hair and make-up were as essential to a character as a well-made prop. Maureen wrote about her character Doris in Miracle on 34th Street: “Being camera ready allowed me to bring Doris Walker to life in a more textured way. If you don’t look right and feel right in the story it can pull you out of character and hurt your performance. When those elements came together as nicely as they did on Miracle, I was able to offer more about Doris through style and movement. It is very freeing when everything fits and works.”

Photos in the book encompass everything imaginable about “styling those stars” at many stages and places of the process, showing in grand detail what went into making the stars camera ready – indoors, outdoors, fitting rooms, during filming, with film information and the character most often chalked on a large board placard. Test photos and wardrobe continuity photos for future reference in later filmed scenes have turned out to be some of the most important photographs taken by Twentieth Century.

The sheer number and range of actors and actresses chosen by Tom and Angela is mind-boggling. Shirley Temple, whose films actually saved the studio from bankruptcy in the 1930s, is captured in her famous ringlets and costume photos from various films. John Carradine touches up pancake powder on his forehead between scenes of Drums Along the Mohawk (1939). You find out how tall Gregory Peck really was – a wardrobe assistant has to stand on a platform and a medium size case to adjust Peck’s tie while filming Gentleman’s Agreement (1947). Henry Fonda shaves his own stubble as a wardrobe person holds a small mirror during the filming of The Grapes of Wrath (1940). Tom Noonan is tested for the right pair of glasses for a role. David Hedison is photographed for The Fly (1958) in a lab coat and a black cloth totally covering his unhuman head. Patricia Neal in a prim collared dress holds giant Gort’s hand for The Day the Earth Stood Still (1961). Jane Russell looks every bit the cowpoke as Clark Gable does in a 2-page spread for The Tall Men (1955).

Insight Editions - STS - DONE Tyrone Power (800x800)Photo: Tyrone Power, The Mark of Zorro (1940)

Dean Martin made at least five costumes changes, two military uniforms and three suits for The Young Lions (1958). Victor Mature as Demetrius looks marvellously hunky for a marketplace scene in The Robe (1953) in lace-up boots, leather apron and rustic striped shirt. Barbara Stanwyck, Anne Bancroft, Louis Jordan, Rock Hudson, Bette Davis, Joan Crawford. Angela Cartwright’s sister Veronica, and yes, Billy Mumy too, Angela’s co-star from the 1960s sci-fi TV series Lost in Space. And more …. Suffice it to say that many, many stars – such as Joan Crawford, Bette Davis, Rita Hayworth, Humphrey Bogart and Lauren Bacall, Audrey Hepburn Frank Sinatra, Katharine Hepburn and Spencer Tracy – from some of the greatest films and TV productions ever made, made it into Tom and Angela’s book.

Insight Editions - STS - Candice Bergen - The Magus (1968) (581x800)
Photo: Candice Bergen, The Magus (1968)

Among the top costume designers, Edith Head had to work within a small budget on Butch Cassidy and the Sundance Kid (1969) and after designing and creating only one complete costume, Robert Redford’s ensemble was piece-mealed together from older costumes in the studio’s wardrobe department.

Other esteemed designers who also styled stars for Twentieth Century Fox include: Dorothy Jeakins (The Sound of Music), Rene Hubert for Music in the Air (1934), starring Gloria Swanson, William Travilla (who dressed Marilyn Monroe for 8 films), Charles Le Maire, Marie Wills, Renie Conley, and the Sorelle Fontana fashion house, Adele Palmer (who designed Veronica Cartwright’s gingham dress for In Love and War (1958); Veronica recalls eating gallons of “chicken soup all day” during the filming). M. Best, J. Lovis, R. Agnayan, Irene Sharaff and more ….

Insight Editions - STS - DONE The Sound of Music at tablePhoto: The Sound of Music (1965) Direction from Robert Wise and touch-ups at the table. Dorothy Jeakins, designer

Insight Editions - STS - DONE Marilyn Monroe lipstick touch up
Photo: Marilyn Monroe, brushing on a little lipstick, Let’s Make it Legal (1951)

The surprises keep on coming. Intriguing photos were included of Raquel Welch in a plaster cast mold so that a form-fitting costume for Fantastic Voyage (1966) could be designed. A section for The Valley of the Dolls (1967) featured ultra-mod “groovy” dress designs and some spectacular outlandish hairstyles (and simple does as well) – and a photo of a happy Judy Garland as Helen Lawson before she was replaced by Susan Hayward in the role.

Insight Editions - STS - DONE Rita Moreno as Tuptim (774x800)Photo: Rita Moreno, The King and I (1956)

Styling the Stars is a supremely rewarding journey through the best of the Twentieth Century Fox Archive. Every time you pick up the book, you find more to discover. The “lost treasures” in Tom and Angela’s book, now forever found, will stand as a sublime historical record of a studio. All the glory, all the enchanting flair, is relived on every page of Styling the Stars’ 304 pages. This review has only skimmed the surface of its photographic jewels. If a future expanded edition one day becomes available, it could only make this already great Hollywood style book even more perfect.

Insight Editions - DONE Tom McLaren portrait
Q & A feature interview with actor-author TOM McLAREN

Lorraine:
Maureen O’Hara, as a part of Fox’s studio system was a perfect choice to do the Foreward for your book. What do feel are the special qualities Miss O’Hara possessed when it came to the studio stylizing her enduring image?

TOM:
Maureen O’Hara had every quality a movie star needs, most certainly talent and beauty, but also a mesmerizing presence and dazzling uniqueness. Movie fans loved her combination of strength and femininity. Her Miracle on 34th Street (1947) will always be one of Fox’s true classics (my wife’s favorite film). We are very fortunate that Maureen kindly agreed to write the Foreword to the book. I was very touched to learn that she kept a copy of the hardcover edition on her own coffee table, next to her copy of a John Wayne book.

Lorraine:
What was most surprising to you about the stylist process discovered while doing research for the book? What were some incredible archival finds?

TOM:
It was interesting to see the level of detail and perfection that went into the taking of hair/makeup/wardrobe continuity photos. Even though the images were intended for internal studio use only, the photographers took the process very seriously. The quality of these vintage photos (taken by professional photographers using professional camera equipment) was simply stunning. Today, it’s all so quick and disposable; continuity photos are snapped on iphones usually by crew assistants.

So many incredible finds…seeing Marlon Brando, Dean Martin, and Montgomery Clift smiling and having fun while taking their Young Lions photos was a highlight. I loved photos which revealed something about the actor’s personality: Paul Newman and Doris Day making faces, John Wayne and Rita Hayworth always with a cigarette in hand, etc. I treasured the never-before-seen rarities…actors who tested for the film but were not cast (Joan Collins in Cleopatra) or were replaced by other actors (Judy Garland in Valley of the Dolls).

Insight Editions - STS - DONE John Wayne (592x760)
Photo: John Wayne, North to Alaska (1960)

Lorraine:
If the space had been available, what stars and their films would you have also included?

TOM:
There are millions of images in the archive, so the list would be unlimited. There were so many choices from the golden age of Hollywood, we could have spent months, even years, going through those archival boxes. The book goes from Shirley Temple in the 1930s through Faye Dunaway in the 1970s, but it would have been fun to dig for more. Images shifted towards polaroids in the 1970s, which was a time of lower quality photography. We wanted this book to showcase pristine quality negatives only.

Lorraine:
Many of Hollywood’s legendary stars and future celebrities are found within the pages. At times with perhaps many photos available of a star, what were the criteria for choosing images? Were all the Fox archive photos already dated and described, or on occasion did you have to engage in some sleuthing to uncover all the facts?

TOM:
Our first choice was to showcase wardrobe photos with the chalkboard placard next to the actor (see back cover photo of Cary Grant) and hair/makeup photos with the note card or hair brush as the indicator (see front cover photo of Marilyn Monroe). If those images were not available, we would choose behind the scenes photos where the stars are being styled during the hair/makeup/wardrobe process. Both types of images are fascinating for so many reasons. It’s a candid moment of the star working on set. It’s a glimpse into the movie making process that so few get to see.

The archival boxes were a complete mystery…we didn’t know what was in them until we opened them! The individual images were not cataloged or categorized in any way. We would literally hold up the negatives to the light or place them on a light box in an attempt to see who it was and what they were doing. The A-list leading actors were of course easiest to spot. The other actors in the film required some sleuthing. Fortunately, I have one of those minds filled with movie trivia and actors’ names/faces/credits/etc, so most were easy to identify.

Insight Editions - STS - DONE Bing Crosby in dress from High Time (1960) (800x800)Photo: One of the mysteries unveiled, Bing Crosby as Harv in a gown and wig for High Time (1960). He was also wardrobe-tested in a men’s traditional casual outfit

Lorraine:
Many of the younger studio actresses went on to become established stars and later on became stars to new generations – finding audiences as well into the 21st century. Groomed-into-stars like Julie Newmar, Barbara Eden and Ann-Margret are living legends today. How do you feel knowing that your book contains the best of Hollywood, then and now?

TOM:
It was very important to me to represent both my parent’s generation and my own generation in the book. My parents had their favorite golden era movie stars and I grew up watching TV reruns of those classic films. But I also developed my own tastes for TV and film when I was a teenager, so I have my ‘next generation’ favorites, many of whom I first discovered on television like Barbara Eden, Robert Wagner and Julie Newmar. The inclusion of the film Myra Breckinridge in the book is a perfect example of one of my goals: Mae West from Old Hollywood and Raquel Welch and Farrah Fawcett from New Hollywood. Something for everyone!

Insight Editions - STS - DONE Ann-Margret (800x551)Photo:  Ann-Margret, The Pleasure Seekers (1964)

Lorraine:
Are there any personal favourites among the array of stars included?

TOM:
It’s a long list! My parent’s favorites are all in there, from Errol Flynn to Barbara Stanwyck. My wife’s favorites are included from Doris Day to Robert Redford. Ann-Margret has always been a favorite of mine, so she was at the top of my wishlist. The wardrobe shot of glamorous Ann-Margret in her iconic flamenco dress from The Pleasure Seekers (1964) , while standing in front of a barrage of technical equipment on a sound stage, is perhaps my favorite never-before-seen photo in the book. I’m also thrilled to include photos of my dear friends Susan Blakely and Lindsay Wagner. The softcover edition has one additional photo which the hardcover does not have: Lindsay Wagner from The Paper Chase (1973).

Lorraine:
Why did you choose to focus on the styling of stars from the Twentieth-Century Fox studio, as opposed to another studio? Although a number of stars in the book did work before, were loaned out during, or after, with other studios, what was the special appeal of the Twentieth Century roster for you?

TOM:
Angela had visited the Fox Archive looking for photos from her movie The Sound of Music (1965) for another book project of hers (The Sound of Music Family Scrapbook). The idea for Styling the Stars started there, when she realized all the Fox films had boxes of long forgotten images. The quality of these never-before-seen photos was the real hook. She called me on the phone and asked me to join her on this journey – I jumped at it immediately – and then we got the studio and our publisher Insight Editions on board.

Every major star from the 1930s through the 1970s did at least one Fox film. They may not have been Fox contract players, but loan outs and independent periods allowed the major movie stars to work at Fox at some point in their careers. We knew we’d find everyone from Humphrey Bogart to Bette Davis to Clark Gable. Fox film history is filled with treasures!

Insight Editions - STS - DONEJayne Mansfield hair tests for Will Success Spoil Rock Hunter (1957) (400x571)
Photo: Jayne Mansfield, Will Success Spoil Rock Hunter? (1957)

Lorraine:
How did you and Angela cross paths and how did that develop into a working relationship for writing Styling the Stars?

TOM:
Angela and I met about 20 years ago at a Lost in Space event. (I was, and still am, a huge Lost in Space fan.) At the time she was curator at a Los Angeles art gallery and she invited me to an exhibit opening. My wife and I became regular patrons at this beautiful gallery and over time we got to know Angela and her family. They are such great people. Angela is a part of movie history certainly, but I see her now as my friend Angela – a kind, interesting, and very dear friend.

She knew my background was in corporate business, and that I was a movie lover and memorabilia collector, so my project management skills and personal interests were well-suited to this book project. The combination of our creative strengths and interests made us a great duo. We worked arm in arm, through thick and thin. The book was definitely a two person project, very complex but extremely rewarding. Overall, I would say this was a dream project for me, and to have worked on it jointly with Angela made it truly a once in a lifetime book that I’m very proud of!

Insight Editions - DONE Tom and Angela at the Giddy's grand opening and their book-signing for STS

Tom: Catching up with photos from our recent book signing at the grand opening of Giddy in Scavenger’s Paradise in Burbank. Angela Cartwright and I had a great time signing our Insight Editions hardcover and softcover book Styling the Stars. Thank you to Alyssa from Giddy Vintage for hosting us. (Alyssa Lauren Gullion is the owner of Giddy Vintage.) Thank you to Jeanne from Cookie Jar Treats for providing the delicious sweet treats. It was wonderful seeing all the family, friends, and newcomers who came to support us.

Tom McLaren - Giddy cookies

Tom: The cookies were made by my sister-in-law Jeanne. She has a great food blog and goes under “cookiejartreats” in social media. She’s a great baker.

angela-cartwright for STS review
Q & A  featurette with actress-artisan ANGELA CARTWRIGHT

Lorraine:
You “grew up” knowing and being acquainted with many of the stars included in Styling the Stars. What might be a fond and meaningful memory for you of any actress or actor in the book?

ANGELA:
I have worked with many of the stars in the book… but working with Julie Andrews was indeed memorable. As kids we adored her from the moment we met her. She sang and joked with us between takes. It shows in the movie how enchanted we all were with her.

Lorraine:
Describe how you feel about the magic process of a “not made up” actress or actor going through the transformation of becoming “the star.” How you feel about all the unique and special styling of hair, make-up and wardrobe involved in creating the styled image? The actor into the character can result in a quite a different ‘night and day’ appearance.

ANGELA:
There is so much more to becoming a character than just learning lines and speaking in a voice to make it real. The costumes, makeup, appearance is all a part of it. Even accessories a character carries can aid in the audience accepting a character. It’s all a “secret dance” to have the audience not think about the actor but to accept that this person they are portraying is real.

More info:
View the Insights Edition trailer for Styling the Stars on You Tube:

Visit Tom McLaren’s website:
http://www.tom-mclaren.com/

Visit Angela Cartwright’s website:
http://www.angela-cartwright.com/

All review photos for Styling the Stars courtesy of Insight Editions