Safety Tips When Removing Nose Hair

Excessive nasal hair growth is a common problem for males, especially for those who are aged thirty and older. Any of these unwanted hairs that may be seen coming out from the nose can really be a turn off. As they say it, image is everything. So, if you care enough about what other people may feel or think upon seeing you with some of those unsightly hairs protruding from your nose, you will need to make sure that your nose is kept clean and your nasal hair trimmed regularly. If you usually see or hear comments that your nasal hair is out of control, you will need a little help from one of the best nose hair clippers to help you keep your nose hair trimmed. If you want to make sure that your nasal hair is of the acceptable length, use a mirror to inspect your nose or ask someone who can help you do just that. For some safety tips when removing nose hair, you may find this post helpful as well.

Removing Nose Hair

Nasal Hair and Its Benefits

Nostril hair plays an important role to help keep your body stay healthy. Your nose hair creates a protective layer that keep pollutants that may get through your nasal passage as you inhale from entering your lungs. Having too much of these hair fibers can be irritating as it can block the nasal cavity. Not only does too much but also too long hair fibers on the nose can be a health problem, it can also make anyone look unruly. And since appearance matters so much, you will need to consider your hair problem if you do have one such as this.

Invest in a Good Quality Nasal Hair Clipper

To help you maintain your good looks by keeping your nasal hair at an acceptable length, you will need to invest in a good quality personal nasal hair clipper.

When looking for one, you don’t just buy the very first clipper that you see on the shelf or online. You will need to consider. Ease of use, functionality, material used, and the price of each of your the available options are some of the few things that you may want to think of before finally deciding which of the nose hair clippers that you see you’d buy.

You may also want to consider whether you would rather have one of these types of nose hair clippers: nose and ear hair scissors, professional nose and ear hair trimmer, or a battery powered nose and ear hair trimmer. Don’t be shy to ask around for the best options that will give you the most value for your money.

Tips When Removing Nose Hair

You don’t just cut nose hair with anything that you think could do the work. A regular pair of scissors might not be as safe as a nose hair trimmer that is especially designed to do the job. Anything sharp, even blunt, cutting object should never be used to snip off a few hairs from your nose or your ears as this may only hurt you in the process. You will also need to make sure that you keep the tool clean before and after each use.

For a safer removal of your nose hair, you may also need to consider the following tips.

  1. Use a nose or ear hair trimmer or scissors. The right tool will always be a primary consideration in whatever you need to accomplish. You should never use one that should be used for anything other than the hair on your nose or on your ears, such as an eyebrow plucker or a pair of scissors. Doing so may cut through your skin and cause infection.

 

  1. Trim your hair in a place where you can see well. You will need to trim your nose hair where there will be sufficient light that can help you see whatever that you are doing properly.

 

  1. Use mirrors. Having a couple of mirrors will make it a lot easier to see every hair fiber that you may need to trim your nose hair.

 

  1. When unsure, make sure to real the label. If it is your first time to do the trimming yourself, it is a smart thing to read any description and instructions indicated in the product label, so that you’ll know how to use the tool properly and easily.

 

  1. Store your hair trimmer properly. Pieces of hair get stuck within a trimmer’s blade eventually, so you will need to make sure that your tool is properly cleaned after every use. Proper maintenance of every tool that you need to keep your nose hair trimmed well will make it a lot easier to keep doing the job with ease every time.

So, there you have it, some of the tips that you need to remember when trimming your nasal hair. When was the last time you trimmed your nasal hair? How was the experience?

There are other means of removing nose hair other than using a trimmer.  For other options, you may want to check out this article.

Lorenz on Fassbinder – From ‘‘Despair’’ to ‘‘Querelle’’

Lorenz on Fassbinder

Editor Juliane Lorenz talks about life with filmmaker Rainer Werner Fassbinder.

THENEWCINEMA: Tell me about the first time you met Fassbinder.

JULIANE LORENZ: I was working as an assistant to Ila von Hasperg who was editing ‘‘Chinese Roulette’’ for Rainer. They were shooting in the countryside in a village where the family of Michael Ballhaus had a little castle. Ila was already editing, she had an editing table out there and I was in Munich preparing the rushes.  So the first time I met him was when he came to watch a first cut in the Munich editing room. I will never forget that moment… I was horribly shy and he was a person who, everyone said… ‘‘he is a monster’’…but turns out he was not a monster, but a very sweet and calm man. He watched the cut, laughed a few times, then got up and said thank you. That is when Ila introduced us.

 

TNC: What was he like as a person, I mean the man, not the filmmaker?

JL: The person I met… he was twenty-nine at the time and I was nineteen… he had made over 26 films and obviously had a life behind him. What I noticed and what I always will remember is that he was a man who was trying to make a break with a complicated private life and a difficult past.  He longed for something new and to separate from a negative period… things that weighed on him… a man tired to care all the time for other people. So the person I met was someone going in a new direction and you can see that in his work, “Satan’s Brew” for example. But when I met him he was in the process of recovering his confidence and had decided to concentrate on his future and his films. He was famous in France, he was famous in America, but he still had to fight in his own country. There were critics who really loved his work, but he didn’t have that kind of recognition in Germany. He wanted to reach people and also be a normal working director not a public spectacle. In the public view he was still this guy who wore a leather jacket and sits in bars and is a homosexual or bisexual or neither. Public opinion was mostly focused on that, not on him as a filmmaker and artist. Basically he was not fitting the mold of German society.

TNC: What is one character trait that defines Fassbinder the filmmaker?

JL: (Laughs) A serious man, absolutely honest, someone that explored the craziness and talents of other people and incorporated them in his work. Someone who gave a lot of work to other people… gave a lot of people an opportunity to be involved in something meaningful.  Generous.

TNC: What was the first Fassbinder film that you edited?

JL: “Bolwieser” was shot as a two part TV series and Rainier asked me to be by his side to edit the feature version, which we did. But “Despair” was the first film I edited all by myself.  He had first asked me to be the previous editor’s assistant, but they didn’t get along. After shooting ended, he had come with Michael Ballhaus to see the first rough cut and was completely unhappy with it… he had expected to have a finished cut. Rainer was not this kind of auteur directors who sits beside the editor. For him an editor was someone’s job and that person’s job was to create. So he expected that he would get a proposition… that he would have a nearly finished film.  The first rough cut was three hours long… way too long.  So he said  to me “well now we go on and edit the film ourselves” and we did it, in one night. I don’t know really what happened, but we were sitting on two tables and we worked… as if we had been working together for twenty years. So we really co-edited the first version and presented it the next day to the producers. Rainer presented me as his editor and that’s how it started… I was only twenty at that time. When they asked who was going to be the official editor… Rainer said Juliane will be my editor and she will edit all my films from now on… and that was that. I thought he was crazy, but if Rainer decided you could do something, then you could.

 

TNC: Tell me about ‘‘In a Year with 13 Moons’’?

JL: This was shortly after his ex-companion Armin Meier killed himself.  I had decided to take some time off as I wanted to do a language course in Paris. Rainer said he was ok with that, but that he would like for me to be present for the edit, but he wanted to do it himself… obviously knowing Rainer I had to laugh a bit.  I came to visit him one day towards the end of the shooting and there was an assistant and Rainer and all the material.  We sat together on the table and looked at the rushes and I said ‘‘ok I will be your assistant’’, if he wants to edit it, then why shouldn’t he. But at the same time he was rehearsing ‘‘Othello’’ as an actor for the Frankfurt Theater by Turm… he was a wonderful actor you know and that was something he really wanted to do more of. So on the first day we started discussing how the beginning would be and then suddenly he got up and said ‘‘ I have to go to rehearsal” and finally never came back.  So I edited that film in six days. Read More “Lorenz on Fassbinder – From ‘‘Despair’’ to ‘‘Querelle’’”

David Lynch – The Man Behind The Curtain

TNC_DL

David Lynch – The Man Behind The Curtain. The legendary filmmaker talks about his work.

THENEWCINEMA: Godard once said that the terrible thing in cinema was, that it is so hard to do, what a painter does quite naturally:  He stops, steps back, gets discouraged, starts again, changes something. He can please himself. What are your thoughts on that kind of filmmaking?  Is it possible to work like that in film?

DAVID LYNCH: Yes it is possible and it’s called “action and re-action” in my mind anyways. You do this in every medium. You do something then you look and react to that and it indicates the next move… it happens all the time in cinema, it happens all the time in painting, it happens all the time in any medium. Its action and reaction and it’s going on all the time and then your reaction is another action and your reacting to that one… and it just goes on.

 

TNC: What I was getting at is… that making films is such a big enterprise compared to making a painting.  The luxury of a painter is that he can make a painting, then if he feels like it he can abandon it halfway thru or get back to it later if he changes his mind.

DL: Like I said, I think it’s the same. It is unfortunate that if halfway thru a film you ran out of ideas and you needed to think and therefore stop the production.  I don’t think too many people would be very happy. But it is possible I think.  In ‘Eraserhead’, for instance, a lot of times because we ran out of money, things stopped. But that gave me an opportunity to think deeper into the thing.  I always say, films go so fast it’s difficult to sink in and get deeper into the thing and it’s a sadness.  But it is possible in some instances to go at a slower rate and sink in even with a commercial film… I think it is.

 

TNC: Can you still do that today? Can you shelve a film halfway through?  Would you be able to abandon a film if you felt it wasn’t going in the right direction?

DL: (Laughs) I don’t know… but normally before you start you have a script… normally… and a lot of problems are worked out… a lot of thinking has gone into that. Time is spent walking away from the script and getting ideas and going back. Then when you get it all together it’s translating that to cinema… you pretty much… I always say you should stay on the alert for new ideas but at least you have a skeleton, something to follow that you are happy with and in love with. So chances are you wouldn’t reach a point where you would want to stop halfway through.

 

TNC:  How important is script for you? How close do you stay to it? How much does that represent of the final film?

DL: Well I always say a script is organized ideas. The most important thing are the ideas and a script is those ideas in words. But it’s an interim stage, it’s not the film, it’s just the organized ideas that your gonna translate to cinema.  So it’s very important as a blueprint, but everybody knows the blueprint is not the house… but it is an indication of what the house will be. Then finally you have the house and it’s way different from the blueprint but it’s similar to the ideas. It’s the ideas that come to be in the concrete form in terms of the cinema.

 

TNC: Do you feel that you usually achieve what you set out to do, or does the film turn out very differently from the original ideas?

DL: It’s almost exactly the same. The thing to me is… is it true to the ideas? And yes, sometimes it’s like walking into the thing that popped into my mind. It’s like walking into that, but sometimes it’s a little different because you didn’t have the money to build it exactly the way it came into your mind. But you look for a location that is true to the ideas and a lot of times you find a location that is not only true to the ideas but it spawns new ones.  So it might not be the same, but it’s true to the original ideas or as close as you can get it.

 

TNC: I think it was also Godard who once said something like “Show me a location and I will write you the scene.”

DL: It’s absolutely true. You go into a location and a whole thing comes… the type of characters and what they might be saying. You know the mood of the place… ideas can just flow out of a location.  Absolutely true!

 

TNC: In some respect your films seem quite eclectic and sometimes asymmetric. Do you do a lot of reshoots once principal photography is over?

DL: No, I always say the same thing… you don’t want to walk away from anything until it feels correct.  So you’re on a location or in a set and you have the people and you have the ideas in the back of your mind driving the boat.  You stay there and work until it feels correct.

 

TNC: Does that get you into trouble with the producers, just to stay on the boat as long as it takes?

DL: Sometimes there are time constraints and the producer gets very upset.

 

TNC: How do you deal with it? Do you just ignore it and continue on or are you sympathetic to the producer’s point of view?

DL: I am very sympathetic to their point of view and usually they are to mine. But you can’t hurt the film by leaving before it feels correct. Read More “David Lynch – The Man Behind The Curtain”