I should have come forward with this years ago ... it’s been my little secret for too long but now I’m breaking my silence and going public with the fact that Michael Jackson held my hand, too...
The incident took place at Universal Studios during the filming of the music video, Scream, featuring Michael and his sister, Janet. Not too long before this I had met Michael while working on the stage production and rehearsals for the Dangerous tour.
Both Mark Romanek, the director of Scream, and Tom Foden, the Production Designer, are uncompromising perfectionists. It’s been a real pleasure to work with both of them on numerous projects. In the film business, working with people who maintain a vision is significantly better than working for those who lack the big picture. On this particular job I was working with the art department headed by Tom Foden. Other members of the art department included Dana Garman, Richard Berg, Jamie Vickers, Paulie Pietsch, Mark Brooks, to name a few.
The Scream video may be the most expensive music video ever made, I believe the total production/post production budget was somewhere near 8.3 million dollars. And I can tell you the art department budget took a good chunk of that, maybe half. The sets took up three full sized stages at Universal Studios in Los Angeles, with over a dozen sets placed on these three stages. Once shooting began, my role was the ‘on-set dresser’, basically the ‘art department representative’ who remains on set at all times as the ‘face’ of the art department. By the very nature of the position, the on-set dresser has close interaction with the talent while on the set.
This was a crazy big job, no doubt about it. Three stages, over a dozen sets, twenty shoot days.
On the first day of shooting we had a 7am call, except Michael was detained until mid-afternoon. Then hair and make-up, get him to the set and it’s 4:30 pm before we roll. It became clear that we would be shooting nights for the next twenty or so days. It was also clear that Michael liked it this way…working at night, that is.
Finally, we get down to business. Michael makes his entrance and is met by Mark who explains the shot. The first footage we shoot with Michael is of him dancing on one of the many white floors seen throughout the video. Michael finds his position, about six feet from camera, does a couple of takes, then mentions how the floor (white vinyl linoleum) was feeling slick. I move in with my tools, a fine grade steel wool, rag and a spray bottle with the ‘special sauce’ and scruff up the floor a bit with the wool then step back. Mark comes out from behind the camera, looks at my handiwork then calls out for Tom before asking me if we lost the ‘gloss’. I say no, give it a quick spray with the special sauce and it dries to a sparkle. When I get up from my kneeling position Michael is smiling at me and says, “I remember you from the tour rehearsal”. I say, “That’s right”, and he asks me how my kids are doing, I say, “great, amazing.” And then everything is back to normal, Michal does his bit and we’re off to a good start.
As predicted, crew call switched from 7am to 4pm, and we worked throughout each night until 4-6am.
In the final hours of the last night of shooting, we had moved to the ‘zen’ set. This was it, last day, last set, last series of shots. The art department had prepped the set with final touches before Michael was brought in to take his place on the zen podium in the center of the set. Michael surveyed the scene and commented on how beautiful the set looked. He was very relaxed and it was obvious he enjoyed sitting in the middle of this temporary temple.
When Mark called out for a piece of the ceiling to be trimmed, I grabbed a 12-step (ladder), scrambled to the top and began sawing. In an unfortunate moment the portable saw kicked back and amputated a third of my left ring finger. Without word, I reached in my back pocket for my rag, wrapped my finger with it and stepped down off the ladder and exited the set. I passed Tom on the way out and showed him what happened. Tom escorted me to the edge of the stage and I laid down on the concrete. It wasn’t long before an entire film crew of towering bodies was in a half circle looking down at me. Union guys chewing gum. 3am. Right?
Suddenly the crowd parts and Michael appears and stands there for a moment, leaning over me, looking down. He looks at my left hand held in the air then he looks at me. Then just like that he is on his knees by my right side and he picks up my right hand and holds it in his. He looks me straight in the eye and tells me how sorry he was, he kept repeating how sorry he was, and then he had tears in his eyes and he held my hand until the ambulance came and took me away.
That next week, recovering at home, the gifts began arriving from Michael and Janet, tasteful and cool things like great soaps, a bathrobe, incense, a card. Anyway, that’s my story. Michael Jackson held my hand, too. Michael, if you read this, thanks for caring.
The incident took place at Universal Studios during the filming of the music video, Scream, featuring Michael and his sister, Janet. Not too long before this I had met Michael while working on the stage production and rehearsals for the Dangerous tour.
Both Mark Romanek, the director of Scream, and Tom Foden, the Production Designer, are uncompromising perfectionists. It’s been a real pleasure to work with both of them on numerous projects. In the film business, working with people who maintain a vision is significantly better than working for those who lack the big picture. On this particular job I was working with the art department headed by Tom Foden. Other members of the art department included Dana Garman, Richard Berg, Jamie Vickers, Paulie Pietsch, Mark Brooks, to name a few.
The Scream video may be the most expensive music video ever made, I believe the total production/post production budget was somewhere near 8.3 million dollars. And I can tell you the art department budget took a good chunk of that, maybe half. The sets took up three full sized stages at Universal Studios in Los Angeles, with over a dozen sets placed on these three stages. Once shooting began, my role was the ‘on-set dresser’, basically the ‘art department representative’ who remains on set at all times as the ‘face’ of the art department. By the very nature of the position, the on-set dresser has close interaction with the talent while on the set.
This was a crazy big job, no doubt about it. Three stages, over a dozen sets, twenty shoot days.
On the first day of shooting we had a 7am call, except Michael was detained until mid-afternoon. Then hair and make-up, get him to the set and it’s 4:30 pm before we roll. It became clear that we would be shooting nights for the next twenty or so days. It was also clear that Michael liked it this way…working at night, that is.
Finally, we get down to business. Michael makes his entrance and is met by Mark who explains the shot. The first footage we shoot with Michael is of him dancing on one of the many white floors seen throughout the video. Michael finds his position, about six feet from camera, does a couple of takes, then mentions how the floor (white vinyl linoleum) was feeling slick. I move in with my tools, a fine grade steel wool, rag and a spray bottle with the ‘special sauce’ and scruff up the floor a bit with the wool then step back. Mark comes out from behind the camera, looks at my handiwork then calls out for Tom before asking me if we lost the ‘gloss’. I say no, give it a quick spray with the special sauce and it dries to a sparkle. When I get up from my kneeling position Michael is smiling at me and says, “I remember you from the tour rehearsal”. I say, “That’s right”, and he asks me how my kids are doing, I say, “great, amazing.” And then everything is back to normal, Michal does his bit and we’re off to a good start.
As predicted, crew call switched from 7am to 4pm, and we worked throughout each night until 4-6am.
In the final hours of the last night of shooting, we had moved to the ‘zen’ set. This was it, last day, last set, last series of shots. The art department had prepped the set with final touches before Michael was brought in to take his place on the zen podium in the center of the set. Michael surveyed the scene and commented on how beautiful the set looked. He was very relaxed and it was obvious he enjoyed sitting in the middle of this temporary temple.
When Mark called out for a piece of the ceiling to be trimmed, I grabbed a 12-step (ladder), scrambled to the top and began sawing. In an unfortunate moment the portable saw kicked back and amputated a third of my left ring finger. Without word, I reached in my back pocket for my rag, wrapped my finger with it and stepped down off the ladder and exited the set. I passed Tom on the way out and showed him what happened. Tom escorted me to the edge of the stage and I laid down on the concrete. It wasn’t long before an entire film crew of towering bodies was in a half circle looking down at me. Union guys chewing gum. 3am. Right?
Suddenly the crowd parts and Michael appears and stands there for a moment, leaning over me, looking down. He looks at my left hand held in the air then he looks at me. Then just like that he is on his knees by my right side and he picks up my right hand and holds it in his. He looks me straight in the eye and tells me how sorry he was, he kept repeating how sorry he was, and then he had tears in his eyes and he held my hand until the ambulance came and took me away.
That next week, recovering at home, the gifts began arriving from Michael and Janet, tasteful and cool things like great soaps, a bathrobe, incense, a card. Anyway, that’s my story. Michael Jackson held my hand, too. Michael, if you read this, thanks for caring.
The Man who made HIStory
He was once a small-time boy
with big musical promise and big voice
got him to be one of the biggest entertainers ever.
He has the heart the size of Russia,
the music gift of Apollo,
the wisdom of an African elephant,
and the grace and beauty of a swan.
He stunned the world with his timeless, classic works of art.
He fought through his darkest times,
from the difficult times that he had as a child
to the false accusations he was innocent.
Despite that, he remained tough
He was only child-like, not childish.
He shocked the world when he left us and this earth
He may be gone, but we will never forget you.
He was once a small-time boy
with big musical promise and big voice
got him to be one of the biggest entertainers ever.
He has the heart the size of Russia,
the music gift of Apollo,
the wisdom of an African elephant,
and the grace and beauty of a swan.
He stunned the world with his timeless, classic works of art.
He fought through his darkest times,
from the difficult times that he had as a child
to the false accusations he was innocent.
Despite that, he remained tough
He was only child-like, not childish.
He shocked the world when he left us and this earth
He may be gone, but we will never forget you.
yes elizabeth did care very much for michael and she did help him she helped him through rehab and through the child molestion trial by being a true friend to him and by being on his side and defending him through the way she knew good and well that michael would never do that to a child in his life she knew that michael was a sweet and innocent person that wouldnt harm a person or a child she knew that michael was a good person she identified with michael because she was in the buisness as a young actor she knew what it felt like to not have a childhood as well she knew what the buisness was like she knew that they were bullies and she helped michael as best as she could she was by his side since they met she was there when the first allegation was brought up in 1993 with jordie chandler she was by his side she wanted to help michael the best way she could she was the first one that wanted to help michael in the case by being the closet friend that he could count on
As TMZ first reported, Jackson's declaration following the Arizona spa ordeal -- which came as part of her bid to obtain co-guardianship over Prince, Paris, and Blanket -- seemed to suggest she was tricked into going and had no idea MJ's kids were worried about her. As part of the declaration, Jackson said, "At the time, I trusted the people I was with to be honest with me."
But Katherine's attorney, Perry Sanders, tells TMZ she has "absolutely" no plans to press charges over the incident, telling us, "This chapter of chaos is closed and we are supportive of family unity in spite of recent events and arguably poor decisions."
She’s from a world
Of popcorn and candy
Pony rides for a dime
Little children laughing
I’m from a world
Of disappointments and confusions
But I want her to be mine
I started talking
She kept on walking
She disappeared into the crowd, oh, oh
I lost my heart
On the carousel
To a circus girl
Who left my heart in pieces
Lost my heart
On the carousel (Ooo)
To a circus girl
Who ran away
Two different people
In love for an instant
To see that the circus came today
Sometimes I can hear her crying here
And I can hear her calling me
I lost my heart (Lost my heart)
On the carousel (Lost my girl)
To a circus girl
Who ran away, I lost
Lost my heart (I lost my girl)
On the carousel (Ooo)
To a circus girl (Oh lost, oh lost, I lost her, I lost my heart)
Lost my heart (I lost)
On the carousel
Of popcorn and candy
Pony rides for a dime
Little children laughing
I’m from a world
Of disappointments and confusions
But I want her to be mine
I started talking
She kept on walking
She disappeared into the crowd, oh, oh
I lost my heart
On the carousel
To a circus girl
Who left my heart in pieces
Lost my heart
On the carousel (Ooo)
To a circus girl
Who ran away
Two different people
In love for an instant
To see that the circus came today
Sometimes I can hear her crying here
And I can hear her calling me
I lost my heart (Lost my heart)
On the carousel (Lost my girl)
To a circus girl
Who ran away, I lost
Lost my heart (I lost my girl)
On the carousel (Ooo)
To a circus girl (Oh lost, oh lost, I lost her, I lost my heart)
Lost my heart (I lost)
On the carousel