The photographer hovering over her isn't happy either. This ''Dead Blonde in a Doorway'' shot is a crucial moment in the ambitious, creepy-cool pictorial James White and Gellar have cooked up — an homage to the disquieting horror flicks of Italian masters Dario Argento and Mario Bava, in which ''the women always looked glamorous,'' says White, ''even when they were left for dead.'' Problem: Gellar isn't looking sufficiently lifeless. White wonders if the location isn't helping. Maybe they should go somewhere else.
''Wait,'' says Gellar.
She arches her back. Turns her head so her hair spills onto the steps. The final touch: a simple turn of her dangling wrist. ''Gooood,'' coos White, clicking quickly through a roll of film.
Next Item in this Gallery
