She authorised Greater Manchester Police to charge Le Vell with 19 offences. ITV announced that Le Vell would not be appearing in "Coronation Street" "pending the outcome of legal proceedings". Le Vell stated: "I am innocent of these charges and intend to fight them vigorously." He pleaded not guilty to all 19 charges. During the trial, which took place before Judge Michael Henshell at Manchester Crown Court, his barrister described the accuser's evidence as containing a series of inconsistencies. On 10 September 2013, Le Vell was found not guilty on all counts, and on 21 March 2014, he returned to his role as Kevin Webster. William Thomas  William, Will, Willie, Bill, Billie, or Billy Thomas may refer to:              Jack Pierce (make-up artist)  Jack Pierce (born Janus Piccoula; May 5, 1889 – July 19, 1968) was a Hollywood make-up artist best remembered for creating the iconic makeup worn by Boris Karloff in "Frankenstein" (1931), along with various other classic monster make-ups for Universal Studios. After immigrating to the United States from his native Greece as a teenager, Pierce tried his hand at several careers, including a stint as an amateur baseball player. In the 1920s, Pierce embarked on a series of jobs in cinema—cinema manager, stuntman, actor, even assistant director—which would eventually lead to his mastery of the field of makeup. The small-statured Pierce was never a "leading man"-type, and he put his performing career aside to specialize in make-up for other performers. In 1915 he was hired to work on crews for the studio's productions. On the 1926 set of "The Monkey Talks", Jack Pierce created the makeup for actor Jacques Lernier who was playing a simian with the ability to communicate. The head of Universal, Carl Laemmle, was won over with the creative outcome. Next came the rictus-grin face of Conrad Veidt in "The Man Who Laughs" (1928), a silent picture. Pierce was then hired full-time by Universal Pictures motion picture studio. The death in 1930 of Lon Chaney—who throughout the 1920s had made a name for himself by creating grotesque and often painful horror make-ups—opened a niche for Pierce and Universal, Chaney's films provided audiences with the deformed, monstrous faces that Pierce and moviegoers of the time enjoyed.