Trek Inspired Actor
- Joseph Griffenberg doubled as Walter White in “Breaking Bad”. He can look scary!
When I took a voice class last summer, I found that one of my classmates was a trekkie – a dedicated trekkie, with a huge collection of trekkie memorabilia! As we chatted I found that Joe has been an extra on a lot of movies & TV shows – and was a double for Bryan Cranston, the star of the acclaimed “Breaking Bad”. Wow! I know folks who dream of getting on a set in any capacity! How’d he get there? So I asked him.
Young Joe played scenes with friends
When the original Star Trek aired, young Joseph Griffenberg stayed up late to watch. He’d stage Star Trek scenes using a local cemetery as exotic set locations, with him playing Capt. Kirk (of course). He’d use lines he remembered from the series, already showing a love for acting.
Joe was an extra!
After a tour in the Navy, he returned to his family in Las Vegas, New Mexico. American Playhouse’s “The Ballad of Gregorio Cortez” was shooting nearby and Joe got work as an extra. That led to work on the original Red Dawn, with then unknowns Patrick Swayze and Charlie Sheen. Meanwhile Joe had gotten a camera and went around filming everything – even a praying mantis eating its mate! Yuck! He found he wanted more control of a film than he’d have as an actor. Actors play out the role of the writer/director’s story. Joe wanted to be telling his own stories, so he enrolled in the University of New Mexico, focusing his Fine Arts degree on television production.
Some of Joe’s Star Trek collection
Joe was still a trekkie, starting in the ’80’s a notable collection of action figures and Star Trek ornaments. Star Trek Next Generation came along. Like me, Joe resisted but got hooked. He’s also followed each of the Trek shows since – Deep Space 9, Voyager, Enterprise. And included them in his collection, filling a whole room! Thankfully, his wife colludes in this “hobby”.
How To Get Picked as an Extra
I asked Joe what advice he’d give to someone who wants to get picked as an extra.
“Persistence! I put in a picture for every call.” Joe said he follows social media, joining facebook groups that pass the word about calls coming up. He reminded me that in New Mexico the film industry has a website where casting calls are posted: http://www.nmfilm.com/Casting_Calls.aspx. Joe points out that extras don’t need any special qualifications. The casting director is simply looking for “a look”. When Joe hears of a production coming up, he finds who the casting director is and checks out their website. Most will say what look they need.
Look for announcements of local casting calls, e.g. Backstage.com
Joe also recommends building your own network of contacts and your own experience by volunteering to work with school groups and with small indie efforts. “You meet more people that way – and they remember you.” Joe says that half the things he’s done have been through word of mouth.
Joe also maintains a page on IMDb, a site where people in the movie and tv business post their resumes and contact information. Joe includes on his page pictures showing that he can adapt to several different looks. With all his experience and training, Joe’s page is very impressive! http://www.imdb.com/name/nm2445713/?ref_=fn_al_nm_1 “I’ve been on set 50 times. Every time I learn something new.” For example, he watches the actors and how they adapt to different directors. “Some directors let actors do what they want, allow them to improvise. Others control everything, like Alfred Hitchcock did. Like James Cameron does.” Joe also continues to take classes, on the different aspects of film making. “Even if you know you want to direct, it will help you to know how to act.”
Do you need to have professional headshots? No! Joe points out that local film oriented organizations usually have a yearly general casting call. Also there will be open casting calls for each show or film, advertised on the local news or local film website. At a casting call, you stand in line, an hour or more. When you get to the front, they have you fill in a card with your name, contact number, type of vehicle (if you’re willing to have it used), your sizes. They’ll take a picture that will go into a file. They keep it forever! When a shoot comes up that needs extras, the casting director will scan the file for people who match the need. Aha! I did this once – and got called a couple of years later! Unfortunately at a time when I couldn’t go.
During our chat, Joe has mentioned several terms: background, stand-ins, doubles. I ask him what each means.
The people in the background are “extras” or “background”
“Background is another word for extras. They are part of the background of shots – people walking by on the street, people in shops or restaurants, the crowd. They don’t speak and don’t need any qualifications other than fitting in with the scene. Let’s say you’re shooting a scene set in Manhattan. You need people who have the typical clean-cut look to be in the background, just as there are always people around on the street there. If you’re shooting a scene set in Eqypt, your background people need the darker skin tone you’d see there. If the people have particular clothing, casting will look for extras who can fit the costumes they have.”
So what is a “stand-in“? “A stand-in substitutes for a leading actor for setting up lights and camera angles. A stand-in doesn’t have to look like the actor, but needs to have the same height and build. The director or actor may first demonstrate the action needed – ‘walk from there to here”. Then the stand-in mimics that action over and over while the crew arranges the lights and angles.”
Cranston & Griffenberg as Walter White in “Breaking Bad”
“A double has to look like the actor – same height, weight, hair style, general face type. A double is used in place of the actor for distance shots for shots from behind.” Joe ran in a Walter White look-alike contest Bryan Cranston held in Albuquerque, adapting his appearance even to shaving his head. He looked enough like Cranston’s Walter White that he was hired as his photo double. Having a double is a great relief to an actor since a 20 second scene may take 4 hours to shoot! Makeup and costume tried their effects on Joe first to get them finalized before replicating them on Cranston. So Joe got to hang out with Cranston a lot more than an extra or stand-in would.
Can you be an extra and still hold down a regular job? How much notice do you get? “The amount of notice depends on the situation. One casting agent called me for the next day. I couldn’t work it out that quickly with my day job. For ‘Night Shift’ I got several days notice. When they contact you, they’ll tell you when to be there and how many days they’ll need you. Maybe if you turn them down a few times, they’ll stop calling – I just make sure to send in my picture again.”
Make-up may want you dirty!
What’s It like as an Extra On Set?
Let’s say someone has done what you suggested and has gotten a call to be an extra on a picture. What’s it like on location? Joe laughed, “It’s a lot of ‘hurry up and wait’. You might arrive at 5am and sit for 13 hours without ever being called. At least you still get paid. Bring a book and your cell phone – just don’t take them on the set!” The tone of the location varies. Joe’s experience was that on Night Shift they were pleasant, knew his name. Others may treat extras like cattle. I ask about makeup. Joe says that usually background people need to come “hair and make-up ready” – looking acceptably generic. If it’s a western, someone from make-up may make you look dirtier.
Joe emphasizes that observing good location etiquette is key to getting more work. “How well you get along is more important that how good an actor you are. Make sure never to burn your bridges.” The rules of set etiquette include:
Worse than this will happen if you disrupt a set! (Pugh appears courtesy of the Daily Mail)
- Whenever you hear “Camera rolling!”, shut up. Don’t wait for the “Action call”.
- Never go up to the star and talk to them. Never ask for an autograph or photo. Some stars will chat with the crew, but let them initiate it. Not you!
- Listen and follow directions. For example, when you arrive you have to fill out paper work – W2 info, proof of residency. They’ll write on the form when you arrived. At the end of the day, you have to return the form or you won’t get paid. If you get props or a costume, they will take the form until you bring them back.
- Never look at the camera when on set! If the scene shows someone making eye contact with the camera, they’ll have to cut the whole scene. Be careful you don’t introduce any unplanned elements into the set – no whispering, even when you’re to look like you’re chatting in the background; no smoking; no ringtones!
- Don’t touch anything on set unless directed to. Don’t move anything. It’s probably a carefully placed prop.
So are you ready to go out and fulfill your dream of being an extra, just as Joe did? If you are, let me know how it goes – and where to look for a glimpse of you in the background! And if you hear of any Star Trek shoots in New Mexico, let Joseph Griffenberg know. He’s ready!
Casting Directors: The Keepers of the Gate
Hemsworth as Kirk
- Hemsworth in 2007
Suppose you were considering casting Thor and the Avengers – and Chris Hemsworth walked in the door! Would you have seen his Star Power?
Casting Director Randi Hiller says “Chris is 6ft 5in and ridiculously handsome. You look at him and think ‘Thor’,” but Randi says that at first he just didn’t have “The Strut”. Clearly Chris was clearly someone to keep an eye on. So how did he end up as Thor?
Thor has “The Strut”!
He got cast as Kirk’s father in the 2009 Star Trek reboot – and that changed things. Randi said that after that “his skin fit”. Now he was ready for Thor!
Star Trek 2009 had me hooked from the beginning with George Kirk. He WAS our Capt. Kirk’s father without doubt. Later in Thor, Chris was perfect. It never occurred to me that long before, someone had to see that potential in the actor to cast him – until I had an opportunity to learn more about casting.
I’d cast him in a heartbeat!
2013 was my first San Diego Comic Con. I loved the costumes and characters and huge halls with panels of movie and TV celebrities. I was just as delighted to find that one of the events was a panel of casting directors. Aha! The guys and gals who see the hopeful actors and pick the ones that might be matches for the leading roles. How do they spot the magical potential in the actors?
I found that it’s more involved than I thought. It isn’t just matching Looks X to Role Y. As one panel member said, “Our job is to have ‘actor fluency’.”
The Panel
The moderator of the panel was Lora Kennedy (Warner Brothers, EVP, Features Casting. CD, Man of Steel). Panelists were Roger Mussenden (X-Men: Days of Future Past), Sharon Bialy (The Walking Dead), David Rapaport (Arrow) and Randi Hiller (of Walt Disney Studios, VP Casting. CD, The Avengers). Our current superheroes started here!
So what are Casting Directors looking for?
Quinto got his name in TV as Sylar
– For a lead in a multi-million picture, they need a known actor, someone with experience. “The Studio wants someone famous – at least someone who won’t FU their project!” TV is a good place to get known because an actor doesn’t need a name to become a TV star. I thought of Zachary Quinto, cast as Spock for Star Trek 2009. He was the first role cast, even though he had no movie experience. But he did have TV experience, getting star status as Sylar in Heroes. Zachary has also said that he spent his early years in Hollywood getting to know the Casting Directors. What about smaller roles? The panel said that for those the actor can have less experience.
– Actors with representatives get looked at first. Un-repped actors get looked at, but not first. It is very rare to pull someone off the street, as was claimed to happen in the early days of Hollywood. If the actor picked drops out, will they go to the #2 choice. Almost never, alas. They are more likely to start over.
– Casting means going through tons of headshots. I knew that every actor had them. The few I’ve seen looked very glamorous. But the panel said not to send a glamor shot, but something that captures the actor’s personality. Sharen said that first they look for the given age & type range. Then for the training. If someone doesn’t fit the current project but has potential – an “It” factor – they’ll note him or her in their “black books” for later roles.
– Tapes act as a pre-audition. Tip: check the tape! Casting gets many tapes with no sound or other glitches. Not good! Casting Directors have to go through a lot of material, so they favor something where they can click a button and look at a short clip quickly. Randi said, “Long montages don’t get you anywhere. Put your best foot forward. I don’t want to see a scene from your acting class.”
– Whether headshots or tapes, they are looking for someone unique. The panel said that actors shouldn’t try to be who they think the casting director wants.
Lots compete to be cast!
– They look for someone who acts professional and looks proud of what they do. Casting Directors prefer actors who show up and are on time. An actor in the audience said, “These days if you want a job in Hollywood, you need a British passport!” Randi replied that it wasn’t a matter of nationality, but of work ethic. She gave an example of a project with 5 Brits, 5 Australians and 10 Americans. The Brits and Aussies showed up on time and were fully prepared. Half of the Americans often didn’t show up – car trouble, sick – lots of excuses. Those that did weren’t prepared. Wow! The American work ethic has deteriorated even in this highly competitive field!
– A killer audition is what got many current stars remembered. Several on the panel said it’s important to play the character that is presented. If auditioning for someone with super powers, to play the person – not the power. Sharon said, “Your job is to make the story move forward. It is not about you!”
OK, even if an actor meets all the criteria, is that it? Who makes the real casting decision? Sure, the casting director presents his or her choice but who makes the casting decision? The director? The studio producer? The show runner (the person responsible for the day to day operation of a TV series)? Turns out that it varies.
Sharon said that for her series the show runner has the final say, but usually all are on the same page. Being cable, they don’t have a committee decision. David said that with Arrow on The CW it is similar. But for the networks and movies, it’s like forty-five (!) people have to sign-off on a co-star. They end up going back to the drawing board a lot. One panel member told of a meeting with twenty-five people, each of whom wanted to say something about each decision – agonizing!!
Sometimes there are union issues or things outside the actor’s control that means he or she can’t be cast for a role. For example, if the shooting is in another country, they may not be able to get the actor accepted in the role or get them there in time.
What a fascinating job! Not all is just looking at gorgeous actors. It sounds like Casting Directors need a lot of patience.
Are you an actor? There’s more you may find helpful on the full panel discussion here.
Do you have any experience with casting actors? Or being cast yourself? What was it like for you? I’d love to hear your comment.
Adventures of A Production Assistant con’t.: Beyond Trek to – Ellen!!
This is the third and last part of my interview with Kerry who worked as a Production Assistant in Hollywood. In Parts 1 & 2, I asked Kerry about how she got her job and what it was like working on Star Trek, both TV and movie. You can read Parts 1 & 2 here: http://www.startrekmagic.com/2013/07/06/adventures-of-a-production-assistant
I asked Kerry about working on productions other than Star Trek. You’d think that would be a hard act to follow, but she ended up on a project that helped change our world! Here’s what happened in Kerry’s own words:
Ellen Comes Out
“After the Star Treks, I did a one day gig over at Disney as a Production Assistant. I got the job through a friend of a friend, which is how you usually find work. It was working with Ellen DeGeneres on her sitcom, Ellen. I arrived at a time when the atmosphere was very hush-hush and full of fear, because the very next episode was ‘The Puppy Episode’, in which Ellen’s character came out as a lesbian. In 1997 that was a very scary and brave thing to do.
“They liked my work so I got a call a few months later offering me a job. They offered me an Office PA job, but I told them I wanted the Set PA job – I KNEW what the next season was going to be like! I myself had just come out about six months before that, and I wanted in on it all.
“What a season! It was a media circus. The Disney Studio was freaking out. The industry magazines made dire proclamations: ‘Ellen DeGeneres Will Never Work In This Town Again!’ ‘Anne Heche Has Thrown Her Career Away!’ ‘Look Out For The Queers Invading Hollywood!’ We had to evacuate the stage twice for bomb threats. Anne was mysteriously presented with a live scorpion instead of fakes while making Six Days And Seven Nights with Harrison Ford in Hawaii. Ellen and Anne had to replace the picture window on the front of their house a half dozen times because some homophobes threw bricks with hate mail through their window. It was crazy, the atmosphere of hate and fear that swirled around us all. But supporting Ellen just felt right and honest. As Ellen’s girlfriend at the time, Anne Heche, said, ‘It’s not what’s between your legs that matters when you fall in love, but what’s between your ears’.
Ian McKellan called!!
“My job as a Set PA on Ellen wasn’t complicated. I delivered scripts and pages to the cast and crew on set. I escorted guest cast around. I did some of Ellen’s personal errands. My most important job was to babysit the stage phone. One day I answered the phone while everyone was at lunch. It was a lovely sounding British gent who asked to speak with Ellen. I’m a sucker for Brits, so I humored him – people and fans occasionally found out the Set phone number and called because they were ‘close personal friends of Ellen’. Well, around the stage you have to prove it to the doorkeeper, me! So, I put him on hold after asking who was calling and went to find Ellen. I knew she was on the patio smoking, so I walked out and asked her, ‘Hey, El, do you know some guy named Ian McKellen?’ Ellen leapt out of her chair and said, ‘Oh my god! Do you KNOW who that is???’ Bewildered at her alarming behavior, I answered no. Rolling her eyes, she proclaimed I was the worst lesbian EVER, and dragged me by the front of my shirt back with her to the stage phone. ‘Hello, sir.’ ‘Yes, sir’, ‘Thank you, sir,’ followed. Who the heck was ELLEN ‘yes, sir-ing?’ Hanging up the phone and looking a bit boggled, she again shook her head at my ignorance and demanded I go find out who he is. I did. My son is named Ian in his honor.
“Ellen DeGeneres is one of the smartest actresses I’ve had the pleasure of working with. People always ask me if she is really as nice and personable as she seems to be. She is.
Emma Thompson
“Another dream come true to work with was Emma Thompson, who guest-starred in the episode conveniently titled ‘Emma’. Again, it’s the accent… or maybe that Emma is wickedly intelligent, emphatically professional, remarkably down-to-earth and prodigiously talented. She is also unusually supportive of her friends, and jumped at the chance to be able to support Ellen in that difficult year by being on her show. Also supporting Ellen were Sarah McLaughlin and the Indigo Girls in the episode ‘Womyn Fest’ and talented actress Lisa Darr, who bravely played the character Ellen’s girlfriend. Not to mention Laura Dern, who co-starred in ‘The Puppy Episode’.
www.mckellen.com-A surprise party with Ian McKellen, Ellen Degenes, Anne Hecht, Emma Thompson & others
“By the end of the season, many more Hollywood names were on that same wavelength of support after seeing how the media and our own Studio treated her. Our final episode featured a plethora of Hollywood talent who came out in support of Ellen – Linda Ellerbee, Bea Arthur, Orson Bean, Glenn Close, Tim Conway (OMG, this was funny http://www.youtube.com/watch?
“It was an interesting experience for so many reasons. One, it was the first time I worked at another Studio. They moved the Ellen show from its original stage to a stage far away in the corner… we joked that if we blew up, we wouldn’t interrupt the filming of Home Improvement with Tim Allen, Disney’s darling at the time. Second, it gave me the opportunity to work with a whole new group of people. Ellen was amazing – we’d get the scripts out on Friday night and she’d have them memorized by the time she came in on Monday morning for the Table Read. The rest of the cast struggled to keep up with her. Filming our show Friday nights was fast… it usually took only a few hours to shoot because Ellen and our two Directors, Gil Junger and Gail Mancuso, ran a tight ship and everyone knew exactly what they were supposed to be doing. It was also my first audience live show. I also got screen credit on every-other episode… yeah, me! I am actually in two episodes – once as an audience member at the music festival and then in the final episode – I’m – wait for it – the Set P.A. on the telephone! Do not ask me why I chose to wear OVERALLS that day. Look here http://www.youtube.com/watch?
“Even funnier was the episode that had Ellen in a chicken costume. The crew on stage was in tears laughing so hard, we could hardly see. I just couldn’t look at her for more than two seconds. When she walked, the duck costume butt swished from side to side and she couldn’t walk straight. Every time I did look at her, she’d turn around really fast and glare at me and I’d collapse laughing. That episode took longer to shoot than most.
Did the Lucy episode on Ellen inspire JC Penney’s ad?
“The final scene we shot was a scene where the characters Ellen, Paige, Spence are grinding coffee by foot in an I Love Lucy spoof. Check out this from 2:54 until 3:58 – http://www.youtube.com/watch?
“The pay at Disney was dismal. Since I was the Set P.A., I only got paid when we shot – which was two weeks out of every three. So, some months I only worked 2 weeks on Ellen. So like many in the entertainment business I had to find other work. When I wasn’t working at Disney, I worked full time weeks at a book store and back at Paramount in the Estimating Department, doing file work for the Accountants on Frasier and Jenny McCarthy to pay the bills. In ten months, I had three entire days off. It was tough, it was worth it and it – barely – paid the bills. Such is the life of a Production Assistant!
“From Disney, I had a couple quiet years working as a P.A. back at Paramount Pictures, which I consider home. I worked in Network Television and on a sitcom called ‘DiResta’ as a Producer’s Assistant to Line Producer Mark Ovitz. From there, I got my break into the administrative end of film making, and began working as an Executive Assistant to a Production Executive in the Feature Production Department at Paramount.
“I worked in the Paramount’s Feature Production Administration Department for nearly five years. At Paramount, there were around 25 movies made each year – large and small budget films. There were four Production Executives and a Vice President, and all those movies were divided between them. My boss was the newest Exec, so we got the ‘not so important’ movies! Oh, well. It was educational and I loved working for my boss; he is a great guy. Now, he’s also the President of Feature Production at Paramount and was the Exec on the new Trek movies, the Indiana Jones movies and Transformers. Some days it kills me that I left.
“On each movie there is an Executive Producer who oversees production. My boss at the Studio is that guy’s boss. A movie gets its start – at the Studio level – with a script and the Exec cracks out a rough budget – what the movie is estimated to cost to make – and it goes to The Powers That Be who decide if they want to make it or not. If they decide to green light it, the search is on for people to attach to the project – cast, Director, Producer, Director of Photography, Costume Designer, Editor etc. Then you have to find a location – so you send out location scouts, who send back pictures – and decision is made as to where the movie will be shot. Then you send out a partial crew on a Location Scout adventure with a Location Manager. They pave the way to get permission for the production company to shoot at that location. They make deals and contracts and generally get it all ready for the production to come in and shoot. My job in the Pre-Production phase of a movie was to make all those travel and hotel arrangements and type up the deals as my Exec and the agents representing the important crew members negotiated their wages and perks. Once the location is secured and everyone is happy, then a true budget is hammered out and the hiring begins. Once the Production Coordinator is hired and she’s completed her paperwork with me, she (and it’s usually a ‘she’) takes over the start-paperwork and on-boarding process. Then the cast, casting directors, crew, caterers, and everyone else is hired and a preliminary shooting schedule is published – this will be what shoots where and when, basically, followed by a cast list and a first draft script. When the start date is determined, that is the start of production.
“There’s so much involved in physical production I can’t even describe it, except that it HAS to run like a well-oiled machine or it’s torture. Hopefully the crew and cast and execs all know what they are doing. Call sheets tell everyone what is happening and Production Reports reflect what actually happened. Schedules are to be maintained and budgets are to be met and not exceeded – in a perfect world. When I was at Paramount, none of the movies we were in charge of actually shot in LA. They all shot elsewhere. It made for a nice office job – only 9 -10 hours a day or so instead of 12 to 16 hours a day on a film crew. I worked on Hardball, Rat Race, Against the Ropes, Down to Earth, the Perfect Score, the Fighting Temptations, Manchurian Candidate and Paycheck. But I was also becoming increasingly frustrated with what I was doing. I needed to feel like I was making a difference. While working on Star Trek and Ellen, I did feel I was contributing to making the world a better place in a small way by doing my part to the best of my ability. Things I did, mattered. But the films I was working on now were not making the world a better place. So I left film and television production.
“I never meant to get into film and television production, it just happened and I fell in love with the process. It was a wonderful experience that I was blessed to fall into. But when it was done, I wanted to have a baby – so I did. Eventually I left L.A. and Hollywood – hard to live there as a single mother with a special needs child! My life now is a far cry from my days as a single Paramount Pictures employee making good money and living the dream. But as my son’s mother and an advocate for families with special needs children, I still seek to make a difference in that special Star Trek kind of way, and make the world a better place.”
Wow! Thanks, Kerry. You certainly worked on some iconic productions. Rich – and exhausting – experiences.
Kerry’s interest in Things Trek continues. This interview has inspired her to launch her own blog at http://startrekintorelevance.blogspot.com/. Her plan is to showcase thoughtful and enlightening articles, interviews and other media by actors associated with all the various Star Treks and give fans a place to discuss profound, philosophical topics infrequently covered elsewhere online. Check it out!
How about you, fellow enthusiast? Have you yearned to work behind the scenes or in front of the camera? Or have you done so? I’d love to hear from you!
Star Trek Into Darkness – behind the scenes
Just in case you haven’t seen it yet, here’s a fascinating look at the movie process: http://youtu.be/EQutDk1yecI
Casting
Here’s an interesting article on casting for Star Trek: http://www.trektoday.com/content/2011/02/surma-casting-star-trek/
If you were casting, would you have spotted the potential Klingon in Michael Dorn?
Worf unveiled=Michael Dorn
Worf, Klingon
Lucky Enough To Go On Set? Follow “Set Etiquette”!
–thanks to Katie Douthit, Make-up artist and teacher in New Mexico, for the following tips-
As a fledgling make up person, I get my experience from working freebies on small efforts. Even there you can see the magic coming together. The tone is often informal, with friends and neighbors roaming around and watching. When I took make-up classes with Katie Douthit, she emphasized that in order to be part of the magic of professional filming, you needed to know how to behave on set, to know what could kill your chances. Below are some of the tips from Katie.
The movie world is a very competitive world with lots of people lined up to get their foot in the door. Developing people in their jobs is not part of the culture. The least little thing can get you fired, without knowing what you did wrong. To get your foot in the door, when they say jump, you say “how high”. Never argue. Never get in a huff that something they want isn’t your job or they didn’t give you enough notice.
Nimoy "becoming" Spock
According to the union contract, you must be given 8 hours notice before a job, but the reality is that if you stick to that you won’t get the job. If anything happens to the person scheduled for work, there is a list of other people anxious to take their place. Whoever answers “yes!” first, gets the job. That’s why it’s important to have a cell phone at all times, preferably one with email- the way most prefer to be contacted. It’s also very important when you get a call, to acknowledge it ASAP. Never assume the caller will know you got the message.
(TO CONTINUE, click here)
