CelluloidKid

Bea Lillie WAS IN: _Around the World in Eighty Days_ (1956) DIRECTED BY: Michael Anderson!! *New Director: Michael Anderson!*

_Xanadu_ (1980)

*The Cincinnati Kid (1965) Fri. June 26, 2009 11:00 PM Eastern Time (ET).* *Check Local Schedules. 8:00pm Arizona time (PT)!* I love this film!! Please don't miss it. Steve McQueen & Edward G. Robinson rock the screen!! I have read ...(but can never see her) ..that Miss. Sharon Tate has a "Uncredited" cameo!!! Hmmmmmm!??! _The Cincinnati Kid_ (1965) tells the story of Eric "The Kid" Stoner, a young Depression-era poker player, as he seeks to establish his reputation as the best. This quest leads him to challenge Lancey "The Man" Howard, an older player widely considered to be the best, culminating in a climactic final poker hand between the two. *_Per Wikipedia_:* In some cuts, the film ends with a freeze-frame on Steve McQueen's face following his penny-pitching loss. This ending is rarely seen, as Turner Classic Movies and the DVD feature the ending with Christian. Jewison wanted to end the film with the freeze-frame but was overruled by the producer

I always loved Tallulah Bankhead's last words ...which were: "Codeine... bourbon." ....

Bale, Christian

*_No More Ladies_ (1935)* Joan Crawford stars!

hatchet .... _Friday the 13th_ (1980) *NEW WORD: Memorial*!

Hermione Gingold WAS IN: _Bell, Book and Candle_ (1958) ....... *DIRECTED BY: Richard Quine!*

*On Display in Rome, Elizabeth Taylor's Bulgari Bling* New York Times Leanne Kilroy Jun 18 2009 *ROME | Richard Burton once said of Elizabeth Taylor, whom he married (and divorced) twice, ?The only word Elizabeth knows in Italian is Bulgari.? And, indeed, while Taylor?s husbands came and went, her passion for Bulgari never faded.* Through Sept. 13, the actress?s fantastic collection, part of a historical exhibit of over 500 Bulgari jewels, will be on display in Rome?s Palazzo delle Esposizioni in celebration of the 125th anniversary of Bulgari?s first store in Rome. Though most of us cannot afford a diamond and emerald brooch like the one Burton gave Taylor on the occasion of their first engagement, at least we can admire it in all its sparkling splendor. ?Between Eternity and History, 125 Years of Italian Style? emphasizes the cultural relevance and Italian influence of Bulgari?s ever-changing designs, which will hypnotize even the most seasoned collector. The exhibit flows through cool, darkened rooms, offering refuge from Rome?s burning summer sun and highlighting both the ageless beauty and the historical specificity of the stones. From the Art Deco-inspired, diamond-encrusted jewels of the ?20s to the 1970s? experimental ?Star Spangled Banner? pieces made of diamonds set in polychrome enamel, Bulgari?s jewels have always remained unapologetically current. Brought to worldwide fame through an ongoing flirtation with the cinema and its stars ?- from Ingrid Bergman and Sofia Loren to Chloe Sevigny and Jennifer Aniston ?- Bulgari?s innovative designs have long surpassed the world of luxury goods. As Andy Warhol once remarked, ?I always visit Bulgari because it is the most important museum of contemporary art.? Now a veritable fashion empire including hotels, perfume, and accessories, Bulgari has remained strictly in the hands of the founding family. Managed by the grandsons and great-grandson of its Greek-born patriarch, Sotirio Boulgaris, today?s Bulgari emphasizes both simplicity and the maison?s usual grandeur with the ubiquitous double BVLGARI logo written in the ancient Roman style and this year?s pieces de resistance, which include the ?Grand Kath?,? a Burma sapphire of over 321 carats hung on a simple silk cord and a dazzling, draping necklace of 270 first-quality diamonds. If the lifespan of jewels like these is any measure, I?d say our love affair with Bulgari is here to stay. ?Between Eternity and History. Bulgari. 1884-2009.125 Years of Italian Style,? Palazzo delle Espozioni; via Nazionale, 194; 06-39-96-75-00. May 22 through Sept. 13. Gours: Sun. to Thur., 10 a.m. to 8 p.m.; Fri. and Sat., 10 a.m. to 10:30 p.m. (closed Mondays). Tickets (also available online): 10 euro; reduced price (under 25, over 65, or disabled): 7.50 euro. (After July 3, ticket prices will increase by 2 euro and will include admission to the Scuderie del Quirinale.) On the first Wednesday of each month, admission is free between 2 and 7 p.m. for persons under 30.

*La Liz at the National: Elizabeth Taylor Film Tribute*. Express from The Washington Post - Jun 24, 2009 *MONDAY: The National Theatre provides a cool breeze in the middle of sweltering heat with its free, six-part summer cinema series honoring Elizabeth Taylor.* The films in "Who's Afraid of Elizabeth Taylor?" include 1958's "Cat on a Hot Tin Roof," above, screen on Monday nights. National Theatre, 1321 Pennsylvania Ave. NW; through Aug. 8, 6:30 p.m., free; 202-783-6854. National Theatre Summer Cinema http://www.nationaltheatre.org/cinema/cinema.htm *The National Theatre presents a FREE film retrospective on the career of legendary actress and Washington philanthropist Elizabeth Taylor*

*I found this interesting article! I thought I would pass it along!* If you think The Dark Knight's "Why So Serious" campaign or Joaquin Phoenix's outlandish behavior on the Late Show with David Letterman are something new, you're sadly mistaken. Stirring up controversy and publicizing the sensational have long proven surefire ways of generating ticket sales at the box office. This first of two parts looks at the history of gimmickry up until 1960. With movies, sex, as always, sells. *The Broken Oath (1910): The Publicity Hoax* Independent Motion Picture Company founder Carl Laemmle stole Biograph Studio's then-anonymous Florence Lawrence by promising her marquee recognition. (Up till then she was simply "The Biograph Girl".) He also generated massive publicity by fueling a false story about how Lawrence had been killed in a NYC streetcar accident. Once enough sympathy had been raised, Laemmle admitted it was a "cowardly... silly lie" via an ad in Moving Picture World. Shortly thereafter at the premiere of The Broken Oath (1910), Lawrence made an appearance with leading man King Baggot at a St. Louis train station. These events mark the first major movie industry publicity stunt to receive widespread press. *Child Bride (1938): Teenage Nudity* Legendary producer/promoter Kroger Babb took his pic Child Bride on the road and made the most of its sexploitation content with taglines like "A throbbing drama of shackled youth!" and "Where Lust was called Just." Banned in many locations because of its underage nudity, the "educational" aspect of the plot about the dangers of underage marriage was designed to circumvent Production Code restrictions. The movie claimed to have a positive goal, too: "If our story will help to abolish Child Marriage -- it will have served its purpose." *Gone With the Wind (1939): The Original Star Search* American Idol circa 1939? Pretty much. A three-year nationwide star search for the actress to play Scarlett O'Hara in Gone With the Wind was orchestrated by Hollywood huckster Russell Birdwell. Open auditions and interviews were held around the country, culminating with the casting of little-known British actress Vivien Leigh. In total, over 1,400 actors tried out for the part. A second publicity stunt came with a merchandising tie-in to Scarlett's wedding dress, displayed in major department store windows. *The Outlaw (1943): Skywriting Breasts* Millionaire Howard Hughes' pet project The Outlaw (1943) scandalized with salacious marketing focused on its star's breasts: "What are the two great reasons for Jane Russell's rise to stardom?", the marketing coyly asked. Pin-up shots of big-busted Russell rolling around in the hay had the desired effect at the box office too (especially among WWII GIs). One of the movie's most vulgar stunts, again orchestrated by Birdwell, was to have skywriting planes fly over San Francisco where they spelled the film's title followed by two giant circles -- each dotted in the center. *Mom and Dad (1945): Sex (Hygiene) Appeal* Kroger Babb's low-budget Mom and Dad (1945) rates as one of the most successful sexploitation flicks of all time. Besides being socially significant as a sex-hygiene pic about the dangers of venereal disease and premarital sex, it also ended up the third highest grossing movie of the 1940s (easily recouping its $62,000 in expenses). About 300 prints road-showed for more than two decades. Screenings were divided by gender and hosted by a lecturer named Elliot Forbes -- an "eminent sexual hygiene commentator" -- and two assisting nurses. The latter promoted the movie's instructive value (it includes a birth sequence), lectured on contraception during intermission, and sold sex manuals in the theaters. *3D Films - 1952* Threatened by television, Hollywood counter-attacked with 3D. The first feature-length sound movie to use the technique was Bwana Devil (1952) which came with the tagline: "A lion in your lap! A lover in your arms!" (The first feature-length 3D film was a silent one called The Power of Love (1922).) A flood of quickly, and often, cheaply, made pics soon followed such as Robot Monster (1953); It Came From Outer Space (1953); The French Line (1953), starring busty Jane Russell (one provocative tagline touted: "It'll knock BOTH your eyes out"); House of Wax (1953), the musical Kiss Me Kate (1953); Creature From the Black Lagoon (1954); and Hitchcock's Dial M For Murder (1954). In the '80s, the technology was briefly revived with Friday the 13th Part 3 3-D (1982), Jaws 3-D (1983), and Amityville 3-D (1983). A similar explosion happened more recently with Spy Kids 3-D (2003), Chicken Little (2005), Meet the Robinsons (2007), Journey to the Center of the Earth (2008), My Bloody Valentine 3-D (2009), Monsters vs. Aliens (2009), and Up (2009). *This Is Cinerama (1952): The Big Screen* Paramount's wrap-around screen debuts! Recognized as the first mainstream, widescreen format, this breakthrough projection technique required three cameras, three projectors, four-track stereo sound, and a number of interlocking, semi-curved screens. A travelogue of the world's vacation spots, This Is Cinerama features a thrilling roller-coaster ride. No longer in use, the format found its most noteworthy contribution in the all-star western How the West Was Won (1962). *Behind the Great Wall (1959): Smell-O-Vision* Another short-lived fad from the 1950s is Charles Weiss' system of pumping "Oriental" scents into the theater through the air-conditioning system. Dubbed Aroma-Rama, this gimmick was prominently used in Carlo Lizzani's Behind the Great Wall (1959), an Italian documentary about Red China narrated by Chet Huntley. This olfactory approach to expanding the moviegoing experience actually has lesser-known precedents: In 1906, rose oil permeated Forest City, Pennsylvania's Family Theatre during a Rose Bowl game newsreel; in 1929 lilac oil was spread through the ventilation system of a Boston theater during the opening credits of the love story Lilac Time (1928); and in the 1940s, various scents were distributed during the double-bill The Sea Hawk (1940) and Boom Town (1940) in a Detroit theater. *Lifetime Achievement Award: The "King of Ballyhoo"* No list about the history of gimmickry would be complete without mention of '50s B-movie schlock-meister William Castle. You can read an homage to this horror impresario here. These are a few highlights from his oddly distinguished career. ? Macabre (1958) promised a $1,000 Lloyds of London insurance policy for anyone who died of fright during the screening. ? House on Haunted Hill (1959) flew a 12-foot long glow-in-the-dark skeleton over the audience. ? The Tingler (1959) installed small electric motors under the theater seats to shock viewers with mini-jolts whenever Vincent Price appeared. ? 13 Ghosts (1960) required audience members to don red-and-blue colored glasses to spot the ghosts on screen. ? Mr. Sardonicus (1961) allowed audience members to vote on the main character's fate: Life or death. ? Strait-Jacket (1964) When the film opened, moviegoers were given little cardboard axes. Thanks, AMCtv.com Thu Jun 25, 2009 Tim Dirks is Senior Editor and Film Historian at AMC, an educator and film buff who originally created the landmark, award-winning Filmsite.org (Greatest Films) in the mid-1990s and continues to write original reviews and features spanning all the years of cinematic history.

_Today We Live_ (1933)

Gregory Peck WAS IN: _The Omen_ (1976) with Lee Remick! *NEW STAR: Lee Remick!*

Not only has the house made an appearance in Blade Runner, but countless other Hollywood films including House on Haunted Hill (1959), The Replacement Killers (1998),The Thirteenth Floor (1999), and even Rush Hour (1998) (pretending to be a floor of a Hong Kong skyscraper). *Frank Lloyd Wright's famed Ennis House to be sold* By Christopher Michaud Christopher Michaud ? Thu Jun 18, 11:45 pm ET NEW YORK (Reuters) ? Frank Lloyd Wright's famed, long-endangered Ennis House that served as a location for films such as "Blade Runner" is putting out a "for sale" sign with a $15 million asking price, Christie's said on Friday. The 6,000-square-foot Los Angeles estate is being sold by the Ennis House Foundation, which recently completed the initial phase of a stabilization and restoration project following years of decay and damage from earthquakes and torrential rains. In March 2005, it was placed on the National Trust for Historic Preservation's most-endangered list. "Our goal has always been to be a good steward of the house," said the foundation's president, James DeMeo. "We've made a lot of progress, but at this point a private owner with the right vision and sufficient resources can better preserve the house than we can as a small nonprofit," he said, explaining the decision to place the historic home on the market. Perched atop a hill in the Los Feliz area of Los Angeles just south of Griffith Park, the Mayan-inspired estate built in 1924 from some 27,000 16-inch concrete blocks is one of only four of the legendary American architect's "textile block" homes. "I fully support the Ennis House returning to private ownership," said Eric Lloyd Wright, grandson of the architect. "My grandfather designed homes to be occupied by people. His homes are works of art. He created the space, but the space becomes a creative force of its own and uplifts when it is lived in every day," said Wright, a member of the Ennis House Foundation's board of directors. The last private owners donated the house, which officials said would require a further $5 million to $7 million for preservation, to a public trust in 1980. Another of the foundation's directors, film star Diane Keaton, will likely assume a public role in the sale of the house, which has also been used in episodes of television shows such as "Twin Peaks" and "Buffy the Vampire Slayer." The sale is being handled by Hilton & Hyland and Dilbeck Realtors, with assistance from Christie's Great Estates, a subsidiary of Christie's auction house. Wright, who died in 1959, was one of the world's most prolific architects, designing homes, churches and office buildings like the Johnson Wax headquarters in Racine, Wisconsin, as well as public spaces including the famed white spiral of New York's Guggenheim Museum, now celebrating its 50th anniversary. The building's exotic properties made it an appealing filming location for Hollywood filmmakers, acquiring morbid fame providing the exterior facade for the House on Haunted Hill, a 1959 B-movie. . The 1975 film The Day of the Locust made extensive use of the house as a private residence, but it was not before 1982 and Blade Runner that the house gained a popularity of its own among movie spectators (even though only the main character's arrival at the motor court was actually shot at the Ennis House). "Murder, Obliquely", a Showtime noir mystery starring Alan Rickman, Laura Dern and Diane Lane was filmed in the home's interior in 1993.

*Thu, Jul 2, 11:15 PM _The Women_ (1939) All Times Eastern Check Local Schedule.* *In 2007, The Women was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".*

dome - _The Hunchback of Notre Dame_ (1939) *_NEW WORD_:* Eviction.

*_Berserk_ (1968)*

Richard Greene WAS IN: _The Black Castle_ (1952) DIRECTED BY: Nathan H. Juran! *NEW DIRECTOR: Nathan H. Juran!*

*DIANE BAKER ? Celebrating the 50th Anniversary of THE DIARY OF ANNE FRANK* 20 June 2009 By Se?n Martinfield Sentinel Editor and Publisher SanFranciscoSentinel.com Photo by Lynn Imanaka *Diane Baker* Anne Frank would have been 80 years old this month. In honor of the occasion and to celebrate the 50th anniversary of the film version of The Diary of Anne Frank , Twentieth Century Fox Home Entertainment has released the cinematic classic in Blu-ray (BD) and DVD format. The studio worked closely with George Stevens Jr. to create this edition which includes all-new bonus features that address the film?s history including the letters that were shared between George Stevens and his son during the making of the film and a reflection by the film?s surviving stars Millie Perkins and Diane Baker. Diane Baker is currently the Executive Director of Motion Pictures and Television and Acting at San Francisco?s Academy of Art University. She was invited to the AAU to build an acting program for graduate and undergraduate students. She inaugurated the first sound stage at the university and its first black box theater, both of which are used by students in the Acting and Film programs to create their portfolios. She has recently been promoted to Executive Director of the Motion Pictures & Television and Acting School. Her future dream is to build a film center for serious filmmakers who want to make meaningful films that will inspire, educate and entertain. I was kid when the original version of Jules Verne?s Journey To The Center of the Earth played at the Balboa Theatre in San Francisco. Today the DVD remains on the top shelf of my favorite science fiction films. Released by Twentieth Century Fox and promoted as ?a fabulous world below the world?, the film was loaded with spectacular special effects including jewel encrusted caves, phosphorescent pools, flesh-eating dinosuars, exploding volcanoes, and extravagant performances by James Mason, Arlene Dahl, Thayer David, and an ill-fated duck named ?Gertrude?. The young romantic leads were the then very-dreamy Pat Boone who was way high on the recording charts with ?April Love?, and Diane Baker whose career was blossoming that year with the release of The Diary of Anne Frank in which she plays Anne?s older sister, ?Margot?. Young Miss Baker was totally intriguing in balancing emerging sexual appeal, all-American-type beauty, vulnerability, and inter-continental know-how. She was the perfect sweetheart ? the girl to whom Pat Boone croons, ?My Love Is Like The Red, Red Rose?, and for whom she remains faithful even though he is galavanting in the center of the earth with his shirt off in front of a voluptuous redhead and ? but for a bewildered sheep ? prancing naked on the grounds of a cloistered nunnery. That year, major journals and Hollywood fan magazines ? along with monster and science fiction weeklies ? were loaded with photos from these two popular films. As the years went by, she was very much in my view with numerous guest appearances on popular TV shows including Adventures In Paradise, Route 66, Mr. Novak, Hallmark Hall of Fame, Wagon Train, The Big Valley, The Fugitive, Bonanza, Fantasy Island, Murder She Wrote, and Law and Order SVI. In between, she appeared with Hollywood?s most desirable leading men including Richard Egan, Maximilian Schell, Gregory Peck, Dean Jones, Clint Walker and most memorably with Paul Newman in The Prize and Sean Connery in Alfred Hitchcock?s psychological thriller, Marnie. I met with Diane Baker recently in her office at the Academy of Art University. I was anxious to talk about the re-release of The Diary of Anne Frank . But I started off by confessing my childhood infatuation with her and the fact that her image is frequently in view at home via Journey To The Center of the Earth, Marnie, and an occasional visit with The Silence Of The Lambs. Diane: A brand new book just came out, Spellbound by Beauty. Donald Spoto wrote about Hitch and all the women in his life. Se?n: And the predominance of blondes? Diane: It?s not only that. I?m in the last part with Tippi. I love Donald. He lives in Denmark now. He called me about an interview, ?You?ve got to!? So, I spent two hours with him when he came to L.A. a year ago. The whole last part of it is my experience with Hitch on the set. It was about trying to get the real truth. It was about his troubled world with the women in the movies. Donald will be invited up here because we?re starting a new course on Hitchcock. Se?n: What is your outstanding memory of that film? Diane: The best part of it was the genius of his ability to see his vision and to see him try to make that real for him. Even to the point of coming up and moving me just exactly the way he wanted me behind a curtain looking out a window. I think the one that created the biggest impact was the fact he was having such a traumatic time with Tippi ? that he was trying to court me, bring me in and groom me to become the next person in the work. And I wouldn?t have any part of it. Se?n: Because it was so controlled? Diane: So controlled. He wouldn?t speak to Tippi through the whole of production. It was devastating. It comes out in the book. He would say wonderful things to me right near her dressing room window. And I would say, ?I wonder what you?re saying about me behind my back.? He would say, ?Not at all. I think you?re wonderful. I love you. I care about you.? I think that dichotomy of what he was doing to Tippi and how he was trying to be wonderful to me and kind to me ? and when he saw that I wasn?t joining and partnering with him, in the sense of his so-called plot, then he began to create difficulties for me to. Se?n: Was he doing that to just keep her going in being that crazy/nuts character? Diane: He was so angry. All of this could have been, but he was also not well. He was drinking a lot of wine at lunches and falling asleep during the take. The Assistant Director had to get in and say, ?Just cut.? Se?n: I find it a difficult film to watch. My partner loves it ? probably for Sean Connery. Diane: A lot of people love it for many good reasons. It was the first truly psychological film that imparted what many of his own feelings were. His own personality began to come into Marnie, more than any of the other films. Se?n: What comes through for me about your performance is the obvious disappointment of your character towards Sean Connery and his obsession with this idiot blonde. And you are so incredibly beautiful. Diane: It?s wonderful to read some of the stuff coming out on the blogs from people who really responded. There are a lot of comments saying they wish he had taken me. But, you know, none of this phases me today. I don?t connect to the past. Is that possible? I don?t live in the past. I have pictures around and I have nostalgia for a lot of great movies. I?m very close to Bob Osborne ? we have been since I was 18. We did a scene together for the Fox contract. He didn?t get it. I did get offered the contract. But, we always thanked God that he didn?t because he went on to write. Lucy Ball said, ?Bob, your career is writing. That?s what you?re going to do really well at.? Thankfully, it was the best thing that happened. Bob became a writer and a collector of information and met so many great stars. Now he has all these great stories that he can use on Turner Classic Movies. Se?n: I got my cable connection because of TCM. Diane: I?m amazed we haven?t talked before this because I have been so fascinated by San Francisco. I?ve gotten to know many interesting people. Bob Redford and I talked on the phone for over an hour the other morning. We keep up all the time. He?s wanting to spend more time in San Francisco. We?re having a meeting at the end of the month in the Presidio. I?m fascinated by what?s going on. We don?t know who our next governor will be, but I won?t vote for anyone unless they are so passionate about the film incentive tax or a rebate. In this country, independent films started in San Francisco and L.A. and some in Massachusetts as well. Amy Zims in Oakland has become a great friend. She has helped our students, we?ve written letters to Mayor Dellums to support her, I?ve been on committees to help. I?ve filmed over in Oakland. I?ve gotten help for the students and they are all thrilled about Oakland. She?s gotten something put through about not costing the students any money not for parking, helped us find a restaurant ? so much good stuff. I?ve gone in front of the Board of Supervisors on two occasions speaking for Public Access and I?ve stood up for the school on the issue of St. Brigid?s (see Ordinance #263-06). I thought that was a pretty sad thing. Diane: The Academy puts up money to save its life by putting up a roof and keeping it from demise because of its falling apart, rehabilitates it, and doesn?t change a thing inside. And then these people come screaming into the Supervisors ? ?What have you done?? I said to the people angry at the Academy that they?ve saved your building that you didn?t get together and buy or help the parish fix. I said to the Supervisors, ?Have any of you ever gone to any of the buildings that the Academy actually took over or purchased? Like, on Powell or the church at Mason and Post?? No, they hadn?t. I said, ?Go in and look and you?ll see that they?ve kept the pews, the facade, kept all the stained glass. Nothing has been changed ? except they keep it in maintained order.? So, I said, ?Please, give me a break. If you all want it, buy it. Help the parish. Get the Archbishop. Raise funds, do a community effort.? But, of course, no one did a thing. Don?t start knocking something that?s still standing and will still be a monument. Se?n: Let?s segue to George Stevens. Talk to me about working with this amazing director. Diane: The day I did the test for George Stevens on the lot of Twentieth Century Fox, Mr. Otto Frank was there on the set. And Millie and I did a scene. He came up to me during the shooting and said, ?You?re so like my daughter, Margot. And I?m, like, I don?t know what to think or say or anything. I didn?t know. I just had ? how wonderful, how moving. All that innocence was there for both me and Millie. I?m sure that the reason he responded to me so well was part of the reason I got the part. And why George said, ?If Mr. Frank thinks she?s like his daughter, then she must be the right person for the part.? All I can say is that meeting with Mr. Frank ? it?s amazing to me that I wasn?t old enough to understand ? how to keep in touch with him for the years following before his death. What a great thing if I had only known and I was smart enough. Today, I would have immediately wanted to know more and called. But, at that time, I think I was so overwhelmed by being in a movie. But being in that movie that I wouldn?t have known how to ? Se?n: How to use your own power. Diane: My own power. I was so shy. It didn?t occur to me that I should pursue knowing somebody and to know them as long as I could. So, I?m not doing that anymore. I keep talking to them. I call people I haven?t seen five years in L.A. and say ?please come over, let?s have dinner / let?s visit / let?s eat. Bob (Osborne) and I were in high school together, he was two years ahead of me. We double-dated, we were friends, we knew each other. We?ve spent time over the years talking. The point is, I want to know him now. And I want him to know me now. We?re too old for garbage and silly nonsense. We?re vulnerable, we?ve lived a life, and we?ve more to live. I want to know the people I respect and care about from all those years. Millie and I are friends. We don?t see each other but four or five times a year, but we talk. She?s come to the school, she?s acted with me in a scene for a class. I brought Tippi Hedren up to talk and to receive an honor. I brought Martin Landau up to get a doctorate, and Mike Medavoy to get a doctorate this past April. Mike was my first agent. He?s now the head of Phoenix Pictures. Se?n: Tell me about Joseph Schildkraut who played ?Otto Frank?. Diane: Oh, he was a character! You could never take it seriously. He would leave his dressing room door open just enough ? and be in his shorts. There was a certain exhibitionist in him that wanted people to see how he looked ? his attractive legs. Se?n: Watch some of his earlier work, especially in The Shop Around The Corner with Jimmy Stewart and Marie Antoinette with Norma Shearer. Diane: Another of my favorite films. He was always mannered, always proper. He was a good actor. Se?n: His performance in The Diary of Anne Frank is so different from all his other work. Diane: He was at his best. Se?n: On to Shelley Winters. Diane: ?Shelley! Shelley!!? I truly believe Shelley had a great mind. I think she was a great, politically savvy, wonderful woman. She had a side of her that seemed to be always allowing the vulnerability to take over. And the excesses and, in some ways, the wonderfully humorous. You fell into a pattern when you would start acting like Shelley. I would be in the dressing room or out doing makeup and it would be, ?Shelley! Where are you, Shelley!!? We were just crazy and we would act like that. One day, Shelley broke those ammonia things which she used on the set to cry. I knew nothing about this. Neither did Millie. In acting class we learned to cry. Shelley had a packet full in her robe ? these little ammonia things she would crack. It went right to your nose, into your eyes, and suddenly you were smarting. She did this to me one day. I never knew anything about this. She didn?t warn me and I nearly dropped to the floor. Se?n: I?ve never heard of this. Diane: What a shock! I stayed away. It makes you tear, like onions, but it?s shocking. She used them before a take. George, Sr. had a way of treating her. Some days he had to treat her with kid gloves, other days he had to be very strict with her ? like a parent. ?Shelley! We?re going to break now until you pull yourself together. Go to your dressing room.? ?Yes, George. George, I ?I?m sorry ? what ?.? ?No, Shelley. We?ll wait until you pull yourself together. Then we?ll resume shooting.? Se?n: Too much ammonia on the brain. Diane: It went from loving her, which he did, after A Place In The Sun which was so brilliant. In that film she was scared to fall in the water. She was pushed by Monty by the boat, she gets up, she?s shaking and frightened. So, George, Sr. jumps in and says, ?If I can do it, you can do it.? He had to treat her in a very special way, which he did ? all through the shooting. Se?n: She was not that old at that time to be so odd. Diane: No, she wasn?t. She was just vulnerable. She was never awful, just insecure, and needy. And wanting his approval ? ?George, George, what did I do wrong?? But with me, he was so wonderful. I had such a crush ? I can only tell you. He wore dark shady glasses. You could never quite see everything. He was a mystery. And yet, he treated me with warmth, kindness, and respect. If I was having a day when I was troubled on the set, he would say, ?Diana? Were you in acting class last night?? And I?d say, ?Yes, Mr. Stevens, I was in acting class.? It?s Monday. ?I know,? he said. ?I can tell. Don?t act.? ?Yes, Mr. Stevens, yes.? I understood what he meant. Don?t do anything. Just be. And I?ll never forget the day I got a compliment. Diane: You wanted, you waited for something to be said that would give you an idea of how you were doing. When we watched the rushes in the big screening room, in the big chairs ? he was always in the back. And we?d be down in the front, nervous to see ourselves and see what would happen. How were yesterdays dailies? And one day he goes, ?Now watch her. Diane. Watch what she?s doing. She is simple. That! She is listening. I sunk into my seat and thought, ?Oh, my God. What is he going to say first? Was that good? Was that good what I did?? He would always send me for a cup of water. When he thought I was nervous, he would give me a little peppermint candy. One day I came into his office while he was eating lunch. I knocked on the door and asked his secretary if I could see Mr. Stevens. ?Yes.? I went in and started to cry. The tears just ? Se?n: What were they about? Diane: I don?t know! Any number of things. He got up, took his napkin and dried my tears. He put his arm around me and said, ?Now, you?re my good girl. You go back. Everything?s fine.? He just gave me that confidence. Se?n: Would you say that essentially he wanted you just to be you. Diane: Yes. Se?n: And who we are at 19? Who knows? Diane: He was so kind and loving that it only made me want to work harder. That?s always been the case with me. Mr. Hitchcock used the opposite method. Diane: On days when he wanted me to be tough, he would look at me across the room? [At this point, Diane does an astonishing facial impression of Hitchcock ? that everyone would recognize ?looking slowly back and forth at me as though I were her at that moment on the set. The energy in the characterization was the noisy silence of passive aggression, her/his eyes conveying the bitter pills of remonstration and insolvable resolution.] Other days, he game me presents. For Christmas, he gave me a clock radio. It was pink. There was a note attached, ?Think of me every night before you go to sleep.? Se?n: [by now, I?m flushed and stifling a guffaw of laughter.] Oh?dear. Diane: He would tell me how important I was, that he really cared about me. Another day he would? [Diane launches back into Hitchcock, this time his familiar mask of droopy-eyed apathy.] And I?m thinking [she whispers], ?What did I do?? So, what works for me mostly ? is love. If the director shows me that he believes and trusts that I can do the best performance, that I am good, that he or she cares ? then I give 150 percent. I live on relationships, on care, on kindness. I truly believe, as did Anne Frank, in the goodness of people. http://www.sanfranciscosentinel.com/?p=32007

*Tom Laughlin, the actor, writer and director of the cult classic, will speak afterward.* By Mike Albo June 20, 2009 The America of 1971 was a place of deep divisions. A war dragged on in a far-off land, conservative values were pitted against the politics of personal freedoms and the youth were restless. It was against this backdrop that actor-writer-director Tom Laughlin tapped into the spirit of the times and unleashed "Billy Jack" -- a tale of one man's fight to preserve justice for the young hippies and Native Americans attending a "freedom school" situated in an ultraconservative town. Now, almost four decades later, a digitally remastered "Billy Jack" is set to screen Sunday night at the Billy Wilder Theater in Westwood as part of the Los Angeles Film Festival, followed by a conversation with Laughlin. Though there had been plenty of lone-wolf heroes in cinema before the arrival of Laughlin's titular character, few were so closely aligned with the counter-culture of the era. And though the movie had a hippie vibe, Billy Jack was no daisy-draped peacenik. First introduced in the 1967 biker exploitation classic "The Born Losers," he was a troubled former Green Beret dressed in a black reservation hat and jeans jacket. He was skilled in the martial art of hapkido and was a crack shot with a rifle. And he wasn't afraid to use excessive violence to protect his friends when they were hassled by local police and ****. Billy Jack's" mixed message of violent pacifism confounded some critics, but that only underscored the moral ambiguity of the times -- and made for some entertaining fight sequences that predated the soon-to-be-popular Hong Kong martial arts movies. Laughlin, now in his 70s and living in Moorpark, says that the characters and situations in "Billy Jack" came out of his personal experiences when he was courting his wife, Delores Taylor, who co-wrote and costarred with him in the film and sequels -- "The Trial of Billy Jack" and "Billy Jack Goes to Washington" -- in the small town of Winner, S.D., where he heard tales of discrimination, including one about service refused at a local store. The incident inspired what is arguably the movie's signature scene, in which a group of Native American students who attend the local "freedom school" are dusted with flour in an ice-cream shop, much to Billy Jack's dismay. This provokes a soliloquy in which our hero tells the small-town racists that, even though he tries to follow the precepts of nonviolence, when he witnesses this kind of moral outrage, he has to take action. It's here that he utters the film's famous catchphrase, "I. . . just . . . go . . . BERSERK!" and proceeds to unleash his feet of fury and demolish the bad guys. Laughlin, a Minnesota native who landed his first big role in Robert Altman's 1957 film "The Delinquents," notes that "everything in that movie, in one sense or another, came from real life." Which, perhaps, explains the film's popularity with youth and why it has maintained its cult status. But getting "Billy Jack" into the theaters required almost the same kind of heroics that Laughlin's character was performing on screen. After an initial release by Warner Bros., the film withered at the box office. Laughlin was later able to take the film back and embarked on a radically different way -- for the time -- of distributing a movie. "In 1973, we eventually took control of the distribution doing whatever we could," he said. "We'd go into a city and do radio and newspaper ads, and we'd rent a theater and put our own people in the box office. The rule back then was that a film had to open in a city's downtown, and after the picture played out there it was moved to the upscale theaters, and after that the cheaper theaters and drive-ins." Under Laughlin's guidance, "Billy Jack" eventually took in more than $40 million at a time when, Laughlin pointed out, "tickets only sold for 75 cents or a dollar." In the years since "Billy Jack's" heyday, Laughlin has remained politically active and outspoken, running for president as an independent candidate in 1992, 2004 and 2008, as well as trying to get yet another "Billy Jack" movie off the ground. Currently titled "Billy Jack and Jean," Laughlin promises it will update the character that made him famous and be "unlike any film ever made." calendar@latimes.com

*Discovered: Unpublished Photos Of Marilyn Monroe* By Claire O'Neill "Who the hell is Marilyn Monroe?" In 1950, this is what Life wanted to know. Photographer Ed Clark had photographed the budding starlet in Los Angeles' Griffith Park, and sent his prints to the publication. At the time, she was relatively unknown, and there was no interest in the photos -- although a mere two years later, she would grace the cover of Life. These photos went unpublished until about a month ago, when Life.com rediscovered them. .............+++++++++==--------......... Los Angeles Times - ‎Jun 2, 2009‎ Marilyn Monroe in Griffith Park, circa 1950 It was 1950, and Life photographer Ed Henry went to Griffith Park to shoot a little-known actress named Marilyn Monroe. The photos show a 24-year-old Monroe walking among the trees and a creek in the park, modeling various outfits, sometimes reading a movie script. Life says the photos somehow were stored away -- until now. "The negatives for these photos were recently discovered during our ongoing effort to digitize Life's immense and storied photo archive, including outtakes and entire shoots that never saw the light of day," according to the magazine. A few months before the shoot, she had finished her first big supporting role in "Asphalt Jungle." Check out the Marilyn Monroe photos here. http://www.life.com/image/88010906/in-gallery/27412/marilyn-neverpublished-photos

The Seven Year Itch Plays The Michelob Ultra Cool Film Series 7/3-7/5 at Dayton Victoria Theatre Association ? Dayton, Ohio Friday, June 19, 2009 Are you ready a nostalgic trip down memory lane, complete with FREE popcorn and soda?? Victoria Theatre Association and Heidelberg Distributing Company presents the first film of the Michelob Ultra Cool Film Series, celebrating classic Hollywood with Marilyn Monroe in the captivating and sexy film, The Seven Year Itch, July 3-5, 2009 at the historic Victoria Theatre in downtown Dayton. Released in 1955 and directed by Billy Wilder, The Seven Year Itch was Marilyn Monroe's 23rd film. She stars as the voluptuous blonde who moves in the husband and father Richard Sherman's (Tom Ewell) Manhattan building, causing his imagination to going into overdrive with some very tempting fantasies. Ms. Monroe's famous scene standing over a subway grating in a flowing dress is in this classic film. Films are shown at 7:30 p.m. on Fridays and Saturdays, and 3 p.m. on Sundays in the air-conditioned comfort of the Victoria Theatre. Recreating the feel of the old-time movie palaces, guests may enjoy free popcorn and soda in the lobby beginning one hour prior to show time, the Mighty Wurlitzer organ concert beginning 30 minutes prior to show time, and a classic cartoon just before the movie. You can see The Seven Year Itch and the rest of the films in the series for just $4.75 each, or $24 for a 10-ticket passbook - a great entertainment bargain in these economically tough times! Passbooks are on sale now through Ticket Center Stage. They may be purchased at the Schuster Center box office in downtown Dayton, by phone at (937) 228-3630 or toll free (888) 228-3630, or online at www.ticketcenterstage.com - click on Victoria Theatre Association, then Michelob Ultra Cool Films. Individual tickets are available day-of-show at the Victoria Theatre box office, beginning one hour prior to showtime. For the full scoop on this summer's series, including video clips and much more, go to www.victoriatheatre.com and click on "Michelob Ultra Cool Films." Be sure to also visit our Facebook page and follow us on Twitter for exclusive Michelob Ultra Cool Films Series updates and offers. The Seven Year Itch, July 3 - 5 After sending his wife and son to the country for the summer to escape the Manhattan heat, Richard Sherman enjoys the life of a bachelor - a little too much. When a delightfully unconventional, voluptuous blonde moves in upstairs (a blonde by the name of Marilyn Monroe!) his overactive, over-vivid imagination goes into overdrive. White Christmas, July 10 - 12 Enjoy a White Christmas while still wearing your sandals! A cast of stars headlines this classic as World War II buddies turned famous performers, Wallace and Davis, team up with some stunning sisters to help out their beloved old General and his struggling ski lodge. The Sting, July 17 - 19 Paul Newman and Robert Redford star as two master con men who pull the scam of a lifetime to get revenge on a corrupt crime boss. With a plot full of surprising twists and the famous ragtime score, the film received 10 Oscar nominations in 1973, winning Best Picture, among others. Jimmy Stewart Weekend, July 24 - 26 This summer, the Michelob Ultra Cool Films Series pays tribute to the great Jimmy Stewart, with three of his best: Vertigo, July 24; The Philadelphia Story, July 25; Harvey, July 26. An American in Paris, July 31 - August 2 Gene Kelly plays Jerry Mulligan, a struggling American painter in Paris. When he is "discovered" by an influential heiress, Jerry's art isn't the only thing she is after. Joke, sing and dance along with Gene Kelly as this romantic musical unfolds on the streets of Paris. To Kill A Mockingbird, August 7 - 9 Set in a small Alabama town, attorney Atticus Finch (Oscar-winner Gregory Peck) risks his career by defending a black man wrongly accused of rape. The adaptation of Harper Lee's timeless novel about racism and tolerance features Robert Duvall in his screen debut as Boo Radley. Funny Girl, August 14 - 16 The 1968 musical about a female singer/comic (Barbra Streisand), and the travails of her life, won Streisand a Best Actress Oscar in her film debut! The song "People" has become a movie musical classic and one of Streisand's best-loved songs. American Graffiti, August 21 - 23 Where were you in '62? It's the last night of summer, and the teenagers of Modesto, California, want to have some fun before adult responsibilities close in. Wolfman Jack spins vintage tunes on the radio as the kids contemplate college, score hot dates, get stuck with little sisters, and race the night away in this coming-of-age classic, directed by George Lucas. Phantom of the Opera Weekend, August 28 - 30 Spend a weekend in the underworld of the Paris Opera House, as we present three film versions of the timeless classic and celebrate the return of The Phantom of the Opera to the Schuster Center stage in June 2010. We will present the classic 1925 silent version with Lon Chaney (featuring live organ accompaniment), the 1943 Claude Rains version, and the 2004 film version of the Broadway musical. Individual tickets for the Miami Valley & Good Samaritan Hospitals Broadway Series presentation of The Phantom of the Opera will also go on sale that weekend! For more information about the series and Victoria Theatre Association's entire season, visit www.victoriatheatre.com.

With no end to Hollywood remakes in sight, Moviehole is reporting that Warner Bros. (who has owned the rights for some time) has begun development on a remake of Teen Wolf, the pic that starred Michael J. Fox as a high-school student turned werewolf. The studio is out to writers who will reinterpret Rod Daniels' 1985 hit. No directors, actors, or release dates have been announced. Per Cinematical: Michael J. Fox starred in Rod Daniel's 1985 original as an entirely normal high school kid who discovers he's a werewolf. Once he fully embraces his wolf-itude, he becomes a star on the basketball team and gets lucky with his dream girl. Of course, Teen Wolf must learn some lessons along the way. The low-budget movie had the sheer luck to star Fox. When the unproven TV actor broke out that summer in Back to the Future, little Atlantic Releasing Corporation quickly rolled the family-friendly comedy into theaters the following month. Teen Wolf cemented Fox's broad appeal.

*_Scorsese on Scorsese_* Are you ready for a night of Scorsese? The Oscar-winning director discusses his life and career at 7 p.m., followed at 8:30 p.m. by a showing of "The King of Comedy," his funny 1983 satire about a desperate comic (Robert De Niro) and a late-night talk-show host (Jerry Lewis). 8:00pm - Alice Doesn't Live Here Anymore (1974) 10:00pm - Scorsese on Scorsese (2004) - Director Martin Scorsese discusses his life growing up in Manhattan and his filmmaking career 11:30pm - King of Comedy, The (1983) 1:30am - Goodfellas (1990) 4:00am - Mean Streets (1973) .

*Charles Schulz And Marilyn Monroe Private Pieces Sold At Bonhams ...* AHN - ‎Jun 15, 2009‎ Anne Lu - Celebrity News Service News Writer Los Angeles, CA (CNS) - The Entertainment Memorabilia sale at Bonhams & Butterfields auction house has garnered competitive sales from its collection, which includes Marilyn Monroe's private pieces and Peanuts cartoonist Charles Schulz's iconic work. The sale attracted international collector interest bidding on both through telephone and in the Sunset Boulevard action room on June 14 in Los Angeles. The Charles Schulz Peanuts comic strip daily from 1983, which was estimated to for $10,000 to $15,000, has sold for $17,080. "Golden Girls" star Estelle Getty's handbag, which her character Sophia Petrillo carried on the hit NBC sitcom, sold for $9,150 (estimated price was only for $1,000 to $1,200), while her Emmy trophy she won in 1987-88 sold for $7,320 (estimated price: $3,000 to $4,000). Blonde icon Marilyn Monroe's contract with actor John Carroll in 1947 for sold $3,660. Her rare black and white photograph by Andre de Dienes, which was estimated to sell for only $400 to $600, sold for $3,355. Other set of her black and white pictures in Korea in 1954 sold for $2,196. Among the items included in the sale are Joan Crawford's dress from the film "Straight Jacket," Meg White's drum set used in her The White Stripes band video "The Hardest Button to Button," and celluloid from the Walt Disney classic "Fantasia," which was bought for $5,795.