slaytonf
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Posts posted by slaytonf
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Rest easy. If you are bourgeois enough to set the damn thing to record at a certain time, you will be able to figure out how to edit a recording.
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If you turn the niece into a nephew, it could be Auntie Mame, with Rosalind Russel:
http://www.tcm.com/tcmdb/title/67795/Auntie-Mame/
It's on 3 February, if you want to see it.
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Your DVD recorder must have an edit function that allows you to split a recording.
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I seen him lots of times, but never was intradoost.
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And Rosemary Lane?
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It was a toss-up, but Patty McCormack seemed to me to have played the older sister.
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One of the Eunson daughters in All Mine to Give. I am guessing Yolanda White.
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Of course! June Corvette!
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Marion Davies?
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Well, I was getting kinda discouraged, having others always confirm the identification of my pics. But musicalnovelty got it right, Spring Byington.
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I was going to post some of the Lullaby of Broadway lyrics, but it just wasn't the same without hearing Wini Shaw sing it.
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My grandfather's girlfriend.
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Um. Aren't. You. Supposed. To guess?
She became an nearly ubiquitous character actress in the 30s and 40s, almost never as a heavy, but always good, friendly, cheerful, and never over-done. Universally liked on and off the screen, everyone thought of her as their marmy. Oh, that's too obvious!
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Manhattan women are dressed in silk and satin,
Or so the fellas say;
There's just one thing that's important in Manhattan,
When you have just one day;
Gotta pick up a date,
Maybe seven or eight,
On your way.
In just one day!
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Thanks, everyone for dredging up those wretched, soul curdling songs that I had even forgot I erased from my consciousness. Sigh, now it starts all over again. . . .
But, since I'm now back in the fifth circle of hell, I might as well mention Born Free. Great tune, but about the schmaltziest lyrics of any film song.
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You have to be quick. That Kid uses disappearing photo paper.
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I think you're over analyzing this. A platform wide enough and strong enough to allow the actress to walk out and back a few feet while the camera is in on her would not need to be heavy or hard to build, requiring, maybe, one sheet of 3/4" plywood and some 2x4s. All you need is two, maybe four people to carry it in from the side, and carry it back out. After all, that's why the camera pulls in on her. The reason I referenced the Eleanor Powell film is to demonstrate what a whole lot of stuff can go on off screen to create the desired image, and how much is accomplished not with technology, but human muscle and effort.
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Hey, I got one! Ya! Ya! Ya!
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Not. . . .not. . . .Josephine Baker?
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You go to work, and the whole world goes on without you. Something wrong in that.
Here's another:
Say, it still confounds me how people can come up with identities.
The nose might give it away.
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And Cabin in the Sky, with Ethel Waters, Eddie Anderson, the imcomparable Lena Horne, the incomparabler Louis Armstron, Rex Ingram, and, oh my!, so many others:
http://www.tcm.com/tcmdb/title/67/Cabin-in-the-Sky/
It's on in February.
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Practice, practice.
I wanted to refer you to the most magnificent example of the manipulation of scenery behind the camera to create a seamless, flowing image in front of it. It has to do with a dance Eleanor Powell does to Fascinatin' Rhythm in the movie Lady Be Good. The dance on screen is fabulous enough, but I saw a documentary, which showed a film made of the entire soundstage during the filming of that sequence, showing the incredible choreography of the camera crew and the stage hands, moving cranes, platforms, pianos, drapes, and dozens of other pieces of scenery to accomplish the shot. I like it better than the dance itself. Frustratingly, I can't remember the film's title.
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Is there any book about his contributions to special effects? The marionettes obscure the advances in the cinematography of models and miniaturization his productions made. I know he wasn't the technicial genious, that was Derek Meddings, but his was the company.
Don't forget Supercar! That monkey is the best manifestation of the pure id in film.
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Even +I+ know that is a famous pic of Humphrey Bogart.
Movie Question: How did they do it?
in Films and Filmmakers
Posted
Something does not need to be heavy to be strong. It's all in the design. A piece of 3/4" plywood two feet wide and eight feet long is floppy. But if you screw a skirt of 2x4 lumber around the edge, it becomes rigid and easily able to bear the weight of the lady in question without flexing. Remember, she doesn't appear to be more than 150 pounds, and she's simply stepping to the side and back, not leaping. Legs attached to the top are not rigid, but some simple braces that make triangles will keep the platform stable. Triangles are used everywhere in building and furniture because it is a rigid form. It's easy to see this. Tape some sticks together to make a triangle and square and note the difference.
If you think using wood still is too heavy or flexy, then a similar platform can be made of aluminum plate and tubes, connected with either bolts or welding.
Also, simply look at the context. This wasn't a bazillion dollar epic. And it was only a small scene in it, not the final battle for the Death Star in Star Wars. They didn't spend a lot of money on it.