Read Online Full Service by Scotty Bowers - Free Book Online Page B
Authors: Scotty Bowers
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cold efficiency. Unlike other men, including Cole, as soon as George had finished there was no time set aside for his partner to bask in the afterglow of orgasm or to reciprocate the favor. He also insisted on slipping me a few bucks when I left. It wasn’t long before I realized that George always paid for sex, no matter who his partner was. As the ensuing months and years went by we became extremely close friends and frequently had sex together. I would often fix him up with other young guys, too. He always paid them well but he seldom asked me to bring the same person over more than once.
George was an early riser and usually went to bed at nine o’clock in the evening. He wasn’t a night owl at all. Whenever he threw a party it was either a luncheon or a small informal dinner for a select group. There were no midnight gang bangs or orgies for him. Sex was purely a brief diversion from his all-consuming passion, which was his work. His films included A Star is Born, the classic drama starring Judy Garland and James Mason . That 1954 production caused him untold headaches. Because of her erratic behavior on set it also fostered his intense dislike of Garland.
“That dreadful woman!” he once confided in me. “What a bitch she is. I’ll never work with her again. Ever!”
One day, during the making of A Star is Born, George and his crew were shooting a very difficult scene on one of the biggest soundstages on the Warner Bros. lot. There was a huge interior set and the lighting and camera work were unusually complicated. It was ten o’clock in the morning and they had just done one run-through of the scene. There were at least a hundred technicians involved and Sam Leavitt, the director of photography; Gene Allen, the production designer; Malcolm Bert, the art director; and various members of the lighting, camera, grips, sound, and construction crews had a lot of minor tweaking and last-minute alterations to take care of before George could call for a take. Despite the amount of work that needed to be done, the delay was expected to take no more than fifteen or twenty minutes. As everyone knows, when it comes to motion picture production, time is money. Lots of money. Long delays could cost the studio a small fortune. The assistant director announced to everyone over the megaphone that there would be a short wait. Judy Garland plopped down on her chair, sighed, fanned herself with her script, then got up and told the assistant director that she needed to go to the bathroom. She promised that she wouldn’t be away for more than ten minutes. Her dressing room and private bathroom were just off to the side of the soundproofed studio. So, off she went. Fifteen minutes later when the assistant director called out, “Places, please, everyone!” there was no sign of Judy.
Major stars always have what are known as stand-ins on the set. It’s their job to take the place of the star while camera crews and lighting technicians make adjustments to ensure that the lighting and lens focus on the actors are exactly as the director and the director of photography want them. Judy’s stand-in was immediately dispatched to Judy’s dressing room to make sure that she was all right and to ask her to kindly return to the set. But a couple of minutes later she returned with the disturbing news that Miss Garland was neither in her dressing room nor her bathroom. Panic rippled through the entire cast and crew. Where could she be? Three assistant directors ran off in various directions to look for her. But Judy was nowhere to be found. Pandemonium broke out. Frantic phone calls were made to other soundstages, to the administration building, to the makeup, hairdressing, and wardrobe departments. But no one had seen Judy. George Cukor was the only one who suspected what might have happened. From past experience he knew that Garland occasionally exhibited moody and erratic behavior. And there was a story behind that. As a
George was an early riser and usually went to bed at nine o’clock in the evening. He wasn’t a night owl at all. Whenever he threw a party it was either a luncheon or a small informal dinner for a select group. There were no midnight gang bangs or orgies for him. Sex was purely a brief diversion from his all-consuming passion, which was his work. His films included A Star is Born, the classic drama starring Judy Garland and James Mason . That 1954 production caused him untold headaches. Because of her erratic behavior on set it also fostered his intense dislike of Garland.
“That dreadful woman!” he once confided in me. “What a bitch she is. I’ll never work with her again. Ever!”
One day, during the making of A Star is Born, George and his crew were shooting a very difficult scene on one of the biggest soundstages on the Warner Bros. lot. There was a huge interior set and the lighting and camera work were unusually complicated. It was ten o’clock in the morning and they had just done one run-through of the scene. There were at least a hundred technicians involved and Sam Leavitt, the director of photography; Gene Allen, the production designer; Malcolm Bert, the art director; and various members of the lighting, camera, grips, sound, and construction crews had a lot of minor tweaking and last-minute alterations to take care of before George could call for a take. Despite the amount of work that needed to be done, the delay was expected to take no more than fifteen or twenty minutes. As everyone knows, when it comes to motion picture production, time is money. Lots of money. Long delays could cost the studio a small fortune. The assistant director announced to everyone over the megaphone that there would be a short wait. Judy Garland plopped down on her chair, sighed, fanned herself with her script, then got up and told the assistant director that she needed to go to the bathroom. She promised that she wouldn’t be away for more than ten minutes. Her dressing room and private bathroom were just off to the side of the soundproofed studio. So, off she went. Fifteen minutes later when the assistant director called out, “Places, please, everyone!” there was no sign of Judy.
Major stars always have what are known as stand-ins on the set. It’s their job to take the place of the star while camera crews and lighting technicians make adjustments to ensure that the lighting and lens focus on the actors are exactly as the director and the director of photography want them. Judy’s stand-in was immediately dispatched to Judy’s dressing room to make sure that she was all right and to ask her to kindly return to the set. But a couple of minutes later she returned with the disturbing news that Miss Garland was neither in her dressing room nor her bathroom. Panic rippled through the entire cast and crew. Where could she be? Three assistant directors ran off in various directions to look for her. But Judy was nowhere to be found. Pandemonium broke out. Frantic phone calls were made to other soundstages, to the administration building, to the makeup, hairdressing, and wardrobe departments. But no one had seen Judy. George Cukor was the only one who suspected what might have happened. From past experience he knew that Garland occasionally exhibited moody and erratic behavior. And there was a story behind that. As a
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