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Red - Male Mannequin Head |  |
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US $30.00 | 9d 17h 57m |
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Glossy Red - Female Mannequin Head | |
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US $30.00 | 9d 17h 34m |
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Hand Painted Mannequin Display Head - Red Hair / Blue Eyes | |
0 Bid | US $15.00 | 3d 4h 22m |
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1970 Chris Waythal Black Female Ceramic Mannequin Head with Red Turban | |
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US $20.00 | 6d 18h 59m |
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Mannequin Head Red
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Red - Male Mannequin Head | |
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US $30.00 | 9d 17h 57m |
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Glossy Red - Female Mannequin Head | |
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US $30.00 | 9d 17h 34m |
| Powered by phpBay Pro |
|
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Hand Painted Mannequin Display Head - Red Hair / Blue Eyes | |
0 Bid | US $15.00 | 3d 4h 22m |
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1970 Chris Waythal Black Female Ceramic Mannequin Head with Red Turban | |
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US $20.00 | 6d 18h 59m |
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Wigs and Mannequin Head $24.99 Wigs and Mannequin Head - Premium Poster |
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Illuminated Lightbulb and Mannequin Head $24.99 H. Armstrong Roberts Illuminated Lightbulb and Mannequin Head - Photographic Print |
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Mannequin $10.49 Mannequin |
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Rome, Italy-Mannequin Head on the Set of Cinecitta $39.99 Keenpress Rome, Italy-Mannequin Head on the Set of Cinecitta - Photographic Print |
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Mannequin/Mannequin 2: On the Move - 2-Disc Set (DVD) $20.56 The original MANNEQUIN is one of the films that defined the `80s "brat pack" genre. The film is included on this package, along with its sequel, 1991`s MANNEQUIN 2: ON THE MOVE. MANNEQUIN stars Andrew McCarthy (PRETTY IN PINK) as Jonathan Switcher, a young artist who builds the perfect mannequin. The mannequin comes to life as Emmy (Kim Cattrall), who is really an ancient Egyptian princess on a time-travelling mission in search of true love. MANNEQUIN 2: ON THE MOVE follows a Medieval maiden whose attempts to shake a curse are brought to a head when she is reincarnated as a mannequin. |
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Mannequin Wig Hat Model Display Head $13.7 - Female mannequin head - Top quality&sturdy base - Great for wigs,hats and also to showcase items. |
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Wooden Human Mannequin 12 Inch(Pack of 6) $15.99 The wooden mannequin comes with adjustable arms, legs, head and much more. Ideal for painters and illustrators.(Mannequin Doll.) The Dimension: 12 in. tall wooden mannequin. |
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Mannequin/Mannequin 2: On the Movie [2 Discs] - Dolby $12.99 Includes:Mannequin (1987), MPAA Rating: PG Mannequin 2: On the Move (1991), MPAA Rating: PG Mannequin In Mannequin, a lame attempt to revive the style and panache of fantasy-tinged romantic comedies of the '30s and '40s, Andrew McCarthy stars as a department store window-dresser who discovers that one of his mannequins (Kim Cattrall) is actually a woman from ancient Egypt when she becomes animated one evening. She then inspires him to become the most expressive window-dresser the business has ever seen. Of course, there is intrigue involving a rival department store's attempt to drive the good guys out of business, and together the two store-crossed lovers must combat the forces of evil to save the day. There is no real mystery about what will happen in the course of the film; it all seems color-by-numbers. The only thing unique about Mannequin is its uniquely bad and illogical script, which has holes larger than the Grand Canyon. Mannequin was a surprise box-office hit, earning nearly 25 million dollars in just under a month of its release -- no small feat considering its miniscule budget and seeming lack of appeal to any particular demographic. It spawned an inferior sequel, Mannequin Two: On the Move, reaffirming the belief that anything is possible. In spite of being panned by critics across the board, it did manage to receive one accolade -- its theme, "Nothing's Gonna Stop Us Now," was nominated by the Academy for Best Song. ~ Jeremy Beday, Rovi Mannequin 2: On the Move Flamboyant window dresser Hollywood Montrose (Meshach Taylor) provides the link between this film and the original Mannequin after the departure of Kim Cattrall and Andrew McCarthy from the cast. Hollywood has now been promoted to the head of Prince & Company's Visual Display Department. He takes on a new assistant, Jason (William Ragsdale) who, in times past, was the dauphin of the kingdom of Hauptmann-Koenig. One thousand years ago, he lost his beloved Jessie (Kristy Swanson) when an evil sorcerer (Terry Kiser) turned her into a wooden icon, now known as the Enchanted Peasant Girl. As a tribute to Hauptmen-Koenig, the Enchanted Peasant Girl is being sent to Prince & Company for a window display. Jason awakens Jessie and the two get re-acquainted, having a millennium of things to catch up on. But the evil sorcerer, now reincarnated as Count Spretzle, arrives on the scene to take Jessie (and a prized necklace) and hop a flight for Bermuda, with Jason the only one who can stop him. ~ Paul Brenner, Rovi |
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Large Glowing Light Bulb Superimposed on Male Mannequin Head $24.99 H. Armstrong Roberts Large Glowing Light Bulb Superimposed on Male Mannequin Head - Photographic Print |
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IWGAC 012616009 Red Hat Mannequin with Hat Red feather $23.97 Elegant Resin Mannequin with stunning Red hat. 5 W x 7.5 H x 2.5 D. |
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Male Mannequin Heads - Suntan(Pack of 4) $25.49 Choose Suntan Mannequin Heads for countertop displays of hats, scarves, jewelry, glasses, or wigs for any men's department. Great wholesale discount cheap bulk mannequin head for props and made from molded expanded polystyrene. 11". |
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IWGAC 012616008 Red Hat Mannequin with Hat black bow $23.97 Elegant Resin Mannequin with stunning Red hat. 5 W x 7.75 H x 2.5 D. |
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Mannequin/Class $8.99 Mannequin/Class |
 Talking Head Red Canvas Print / Canvas Art - Artist Christine Zipps Sale Price: $98.66  Eligible for free shipping!Availability: Usually ships in 1-2 business days  |
JUNOs 2011: Die Mannequin on the Red Carpet
To Rehearse Or Not Rehearse That Is The Question
(Ed. note: The author was a script writer for Bob Hope between 1977 and 1992.)
Actors either like to rehearse or they don't. Hope didn't. He felt that over-rehearsing could dull the precise timing and spontaneity that comedy requires. Hope's propensity to under-rehearse no doubt prevented many guests who preferred more preparation from making return appearances.
Even seasoned performers like Lucille Ball could prefer ample time to rehearse and when guesting on a Hope special often made her preference known. Hope's personal aversion to rehearsing led to the oft-heard criticism of his television performances — his obvious reliance on cue cards.
Hope was aware, of course, that the audience often caught him glancing off camera to pick up the words being held up by Barney McNulty and his crew positioned in as many as four locations around the set's perimeter. But for Hope, the alternative — memorizing lines — would have been impractical.
As far as Hope was concerned, appearing on TV wasn't his primary occupation — appearing live on stage from one end of the country to the other was. He used television as a promotional tool — just a way of keeping the Hope brand in the public eye. As a result, the specials always took a backseat.
If our star was stuck at an airport in Keokuk, preparations for the show simply proceeded without him. When a physical presence was required, his longtime stand-in, Alan Kalm, a former actor Hope had worked with on Broadway, performed the honors.
(Alan was a real character. He had also been Bing Crosby's stand-in and inherited Bing's used toupees, which Alan still wore. Viewed from behind, you'd swear he was Bing. Alan was yet another example of someone Hope helped whom he had known before he was a star. Property manager Al Borden was another; so was casting director Onnie Morrow.)
Often, when Hope's schedule conflicted, the guests were compelled to rehearse without him; they were assured that he would miraculously appear by the time the little red light on the camera flickered to life.
Also, Hope believed that allowing his guests too many rehearsals would give them more time to come up with objections to their lines. Ideally, he preferred to hand them their script just before the first read-through where the actors sit at a long table and recite their lines precisely as they appear in the script. We stood by in case new lines were needed — heaven forbid.
It's at this point that our guests had the opportunity to voice any reservations about their lines, but because of Hope's "living legend" status, few ever did. A nice perk for us, to be sure. Occasionally, a guest would bolster the courage to speak up. On a Christmas special one year, Hope and Loretta Swit —"Hotlips"on M*A*S*H — were dressed as department-store mannequins discussing the job after everyone had gone home.
LORETTA: I feel so stupid standing there with hundreds of shoppers pointing at me and shouting, "I want what she's wearing! I want what she's wearing!"
HOPE: Yeah, those women can get pretty pushy.
LORETTA: What women? Those were the men."
As soon as she said it, the table erupted in laughter. Hope beamed. Everyone at the table liked the joke except Loretta. She had recently become active in several gay causes and found the line demeaning to homosexuals.
Ordinarily, no problem. Hope would cut the line, and we'd write her a replacement. But not now — the joke had gotten a big laugh. Its value to the show had been tested and proven. Once Hope knew a joke worked, he'd protect it like it was his idea. And it was, almost — he'd paid for it.
While empathizing with Loretta, he convinced her ever-so-gently that as a professional entertainer, she should never allow personal feelings to get in the way of audience laughter. She "owed the audience that much," he explained like a kindly grandfather. Loretta was no match for Hope's logic and gave in. The line stayed and got one of the biggest laughs on the special.
Sometimes, Hope's notorious last-minute script deliveries backfired. We were in Honolulu for a special that featured guests Tom Selleck, Mr. T and Loni Anderson. The scripts were delivered to their suites in the Honolulu Hilton so they'd be waiting for them when they arrived.
Fellow writer Gene Perret and I had written a spot for Loni and Hope that centered on a recent made-for-TV movie of Loni's that had gotten high ratings. In the film, she played a high-class call girl who somehow raises a teenage daughter while concealing from her the less-than-wholesome nature of her profession.
Gene and I had assumed — wrongfully, as it turned out — that, since she had done the movie, she wouldn't mind having a little fun discussing its interesting — if totally implausible — premise. Our make-believe conversation contained exchanges like this:
HOPE: So tell me, how did you ever manage to have all those men sleeping over without your daughter getting suspicious?
LONI: Oh, that was easy. I just convinced her that she had a hundred-and-fifty uncles.
While unpacking, Loni reads the material, concludes that we've made light of a serious topic and decides not to do the routine. But she doesn't voice her complaints to anyone connected with the show. Instead, she calls her agent in California. (That's how things like this are often done in Hollywood.)
The agent then calls our producer, Carolyn Raskin, who's quickly on the phone to Hope who hangs up and dials us. We're dispatched to extinguish the artistic brush fire. We somehow convince Loni that we're paid to make light of serious topics and that call girls raising teens wasn't as yet a national scandal. Loni agrees to do the spot, and we breathe easy again.
We also decide never to write another routine about hookers.
I learned early in my script-writing career how common it is for actors to suddenly lose faith in their lines just before going on. I was at the M.G.M Grand Hotel in Las Vegas with the "Dean Martin Celebrity Roasts" -- my first big network assignment -- when head writer Harry Crane sent me to Zsa Zsa Gabor's suite to talk her out of just such butterflies.
Zsa Zsa was a frequent guest of Dean's and had a reputation for getting last-minute cold feet. As instructed by Harry, I went over Zsa Zsa's segment line-by-line with cue card man Barney McNulty there to make any changes necessary.
Barney and I convinced Miss Gabor that our material was as funny at the M.G.M Grand as it had been in Burbank when she had approved it.
As Harry had predicted, re-inspired that we had, indeed, written strong jokes for her to deliver, Zsa Zsa did her turn on the show and was, as usual, a smash.
And you thought show business was fun.
Excerpted from THE LAUGH MAKERS: A Behind-the-Scenes Tribute to Bob Hope's Incredible Gag Writers (c) 2009 by Robert L. Mills and published by Bear Manor Media.
To order: http://bobhopeslaughmakers.weebly.com Kindle e-book $2.99: www.amazon.com/dp/B0041D9EPO
View photos from the book: http://bobhopeshowbackstage.weebly.com
About the Author
A native of San Francisco, Bob Mills served in the Navy after high school, graduating from San Francisco State University in 1962 and the University of California Hastings Law in 1965. He practiced in Palo Alto, CA for ten years before moving to Hollywood to write for television. He worked on the Dinah Shore Show, the Steve Allen Show and the Dean Martin Celebrity Roasts before joining Bob Hope as a staff writer in 1977. He traveled the world with Hope for the next seventeen years. In 2009, his book The Laugh Makers: A Behind-the-Scenes Tribute to Bob Hope's Incredible Gag Writers was published by Bear Manor Media and was named one of Leonard Maltin's "Top 20 Year-End Picks." To order: http://bobhopeslaughmakers.weebly.com
Kindle e-book $2.99: www.amazon.com/dp/B0041D9EPO
