Sammy_Glick

So was "Georgie Minafer" really based on George Orson Welles and was inventor "Eugene Morgan" based on Welles' inventor father?

But the fact remains that if Ambersons had meant so much to Welles he never should have left before the film was ready to ship. No filmmaker is invincible and every good filmmaker has their horror stories of the suits trying to take control of the picture. I think his hubris got the best of him there, with the false belief that the RKO suits wouldn't override his cut under any circumstances. Inserting stills with a soundtrack worked (IMO) for the fully restored Cukor version of A Star is Born so I would welcome it.

The Shining was always presented in 1.33:1. No widescreen version exists for release. Supposedly, Kubrick did this to control the framing and disallow any possibility of panning and scanning. All his films that followed were done the same way.

>by failing to mention that Ms Phillips's then-husband, Michael, was the third >credited producer on the film I didn't think that was necessary, figuring anyone truly knowledgable would have already known that (such as yourself!) Thank you! I wonder how the good folks at TCM would have permitted such misinformation to go out over the air? I should check "You'll Never Eat Lunch in This Town Again" to see if Julia Phillips had trashed Sid Ganis!

My apologies ... this is the price I pay for typing on a palm pilot "Contemptible" is the word!

My mouth dropped when these two failed to cite the first woman ever to receive a Best Picture Oscar in a discussion of The Sting. The only person they mentioned was Tony Bill ... "and here's Tony Bill, the producer of The Sting." What a joke. The late Julia Phillips deserved better! Shame on YOU Osborne and Ganis for being historically inaccurate and showing obvious bias against someone who (gasp) dared to expose Hollywood's soft underbelly.