High above the city of Rio de Janeiro, on the peak of Mount Corcovado, shrouded in clouds and mists, stood the magnificent figure of Christ the Redeemer, arms outstretched, as if in benediction for the world below. Across Botafogo Bay the rounded peak of Sugar Loaf Mountain posed like a sentinel looking out to sea. The grandeur of the setting dissolved into the reality of a small crowded street where sweating camera crews waited impatiently as makeup people rushed in to make hasty repairs to the actors wearily preparing to do the seventh take of the same scene. On a crane high above their heads, the film director, Kirk Trammer, shouted instructions to the technicians. Natalie felt like a broiled potato in the scorching sun of Rio’s February midsummer day. She tried to be patient as her makeup lady did her job. Natalie was a professional. Long, weary hours repeating take after take in uncomfortable and sometimes dangerous situations were part of her job.
