lzcutter

face, *The Russians are Coming* and *Gaily, Gaily* are films directed by Norman Jewison, not Kazan. Walter Mirisch and Jewison produced *Russians* and Jewison and Hal Ashby produced *Gaily*. Not sure how Kazan fits into either of those films.

>I just saw One Foot in Heaven and woner if the "Elmwood Church" at the movie's end was the Hollywood Methodist Church on Franklin Street that's the first thing you see coming into downtown from the hills by bus? Wouldbe, Good eye! Yes, it was the First United Methodist Church on Franklin at Highland. That church is also in *The War of the Worlds*. Another church used is the Wilshire United Methodist which is located on Wilshire on the way to downtown LA.

Barb and Masha, You are not the only two who covet those rings! They are absolutely beautiful. So simple yet elegant. They don't scream look at me but you can't take your eyes off of them! I Want One!!!!!! Or Four or Five!!!!!!

I enjoy George Clooney as an actor (along with everyone else in the cast) and as well ast Clooney as a director. I admire his films that don't go for the easy to do material. As for critics and reviews, I tend to avoid them until after I have seen a film that's on my list of movies to see. Besides, it's good to see someone who enjoyed Kelly's Hero's as much as I did all those years ago. Edited by: lzcutter on Feb 20, 2014 9:18 PM

AsSeen, Thanks so much for replying! I will definitely keep an eye out for you and your messenger bag! Looking forward to it!

I think the poster who suggested that the techs are working behind the scenes on the website is probably on the money. Someone messed up the code and it being a holiday weekend it may not get fixed until next week. I doubt it is a permanent modification.

Hey Barb! Hope you and Mom are doing well! Miss you being around here but am guessing that life is keeping you busy! Hope you are having a good weekend!

>The Wiki review says: >"Mary is not very intelligent but thinks of herself as being wise." >The scene of her in the film is designed to make her look silly and stupid. These are facts of life and you have to live with them: No, I don't because I don't believe that girls or women who may not be intelligent in the ways of the world are stupid or mentally deficient the way you do. Women (young and old) aren't all pretty, not all women are socially graceful, not all women know how to react around a man but that certainly doesn't equate to being stupid or mentally deficient. That's just being human, not being stupid, **** or mentally deficient. Sorry, FredC, but that dog just won't hunt as my mother used to say.

I was posting in response to you, Fred and your post about *Pride and Prejudice*. In that you called Mary Bennett stupid and deficient and the description included that she was plain and not very intelligent. It was also hinted at that despite her studies she wasn't very smart. The rest of the blurb hints that Mary is too stupid to realize that Mr. Collins is already engaged and since her mother pushed her towards Mr. Collins hoping that they might spark, the mother must be stupid by default for not knowing Mr. Collins was engaged. It seems in this thread that the men in these movies and books can treat women horribly but it is the women who are the problem and are called stupid and mentally deficient. Don't know how to tell you, but the men in these movies are even bigger problem than this so-called problem affecting the women who are socially awkward, not always pretty and not wise in the ways of the world. One of the reasons the women in these films are like that is because of the way they have been treated by the men around them.

So because Mary Bennett is plain looking and she has neither genius nor taste she is, in your words,a "mentally deficient girl" Neither she or her mother knows that Mr. Collins, who was turned away by Mary's sister Lizzy, is engaged to another woman. So, Mary and her mother are stupid for not knowing that Mr. Collins is engaged but no problem with Mr. Collins for being deceitful in that matter and not coming clean from the get go. Interesting that it is the women who are the stupid, deficient ones and the men who treat them shabbily, hey, they're just men.

Lavender, Thanks! I still fnd it fascinating that some here see the problem as Catherine who they view as too stupid/too dumb for not knowing how to act around men or in social situations. But, her father, who should love her unconditionally has instead verbally let her know what a failure she is and has been since she was born. And then there is Monty, who loves her for her money. They are just men behaving like men do. No problem there.

>The girl was so dumb Maybe by your standards. Some of us see a socially awkward young woman who has on one hand, sheltered by her father and the other, the victim of his cruel remarks. She is not as pretty, as witty, as social graceful as her mother was and to the father this is not only an injustice against him but some kind of cruel trick of fate. She is an embarrassment to her father and rather than accept that his daughter is rather plain compared to her mother, he does all he can to stifle her development thinking that it will be for her good to remain on the sidelines of life. Since she is not beautiful, witty, gracious like her mother, she is unworthy of love. Unlike Charlotte Vail, who had support around her (Dr. J, and even her sister, her niece who eventually came to see her as a confident and secure woman), Catherine had no one. Her aunt tries but is also hung up on the idea that a person must be beautiful on the outside to be worthy of love.

>As for Catherine; Based on her character in the movie I don't see her as being "abnormally deficient" just socially 'off''. It's surprising to me that there are some here who think Catherine is mentally deficient. Catherine has grown up with a father, who from the beginning of her life, has told her that she will never, ever be the woman her mother was. This is a man, a father, who should love his daughter unconditionally and yet, he never misses an opportunity to let her know how she just never measures up and never will. And she's the one with the problem?

TV, Posters have asked this question in the past and the basic answer is that there is no way to delete a thread once people have responded. You can edit your original message and any responses you made (though the window of opportunity to edit your original post and/or responses may have passed) but if other posters responded to your query, you can't edit or delete their responses. The only one with the ability and authority to remove your thread is the WebAdmin and only if it meets certain criteria.

He was terrific in *Carnivale*, the HBO series from 10 years ago, and recently had a recurring role on *NCIS* as Mark Harmon's father.

TCM, like many other companies, licenses music from music libraries. Outside of the year end memorial or the occasional promo that features popular songs by artists (I think the most recent example of that was the Jean Harlow promo last year), the majority of the music comes from the music library (ies) that TCM has a license(s) with.

David, Thank you so much for starting this thread. As you know, it is a subject that is near and dear to my heart. I would ask if you could expand it out a few more years to include the wonderful, Mother Cutter, the great Verna Fields. Verna began her career in the sound editing department working on such films as *While the City Sleeps* and *El Cid*. During the 1960s, she worked on a number of television shows as a sound effects editor. In 1960, she added film editor to her job description when she cut *Studs Lonigan*. In 1968, she cut *Medium Cool* for cameraman/director Haskell Wexler and followed that with *What's Up, Doc! *Paper Moon* and *Daisy Miller* for Peter Bogdanovich. In 1973, she was nominated for an Academy Award (shared with Marcia Lucas) for editing *American Graffiti*. She followed that with *The Sugarland Express* and won an Oscar for editing *Jaws*. Spielberg has often cited Verna's decision to keep the shark off the screen until well into the movie as a major reason why the film works so well (along with John Williams music and the performances). Given that the film was shot on the water in a variety of weather including sun, clouds and overcast conditions, the first few times you watch the film, you never notice how mismatched some of the scenes are. Because the shark did not work well throughout the production, the idea to keep Bruce's (the shark) appearances to a minimum and let audience's imaginations do the rest, was one of the best workarounds she ever came up with. She worked with Bogdanovich, Lucas and Spielberg, often cutting on an upright Moviola in the small office near her pool in Encino, here in the San Fernando Valley. Coppola would screen his films for her and ask her for notes. After *Jaws* she worked in an executive position at Universal. She was wonderfully supportive of women in film and very helpful to young editors who were just starting out, or wondering what they should do after they got out of school. We lost her too young at the age of 64 in 1982. I miss her very much all these years later.

It's not one continuous take as there are edits in the dance sequence going from wide shot to close ups. The way editing worked back in the studio days is the editor cut the sequences using what either notes the director had, or the producer or often, his own judgement. A musical scene like "Good Morning" would have been cut together using the best moments of different takes and utilizing the cut aways to close ups to get around jump cuts between using two different takes. (example, the wide shot to closer shot at 1:10 in this clip: gives the editor the advantage of not only moving closer in on the singers but also moving the song along. To the actors and director's credit, much of the sequence is filmed in long takes which means the actors hit their marks remarkably well while staying in character, singing, dancing and moving around the set which is no easy feat. And the editor took the best of those takes, utilized the cutaways to avoid jump cuts, and edited the sequence together so that the musical number worked not only for the film but became an iconic moment in a beloved film. Kudos to the actors, the director and, especially, the editor who made their work shine.

>What is the typical age range of people attending? Not many of my friends enjoy watching classic movies, do you think there will be many younger people to talk or hang out with? untguy, No worries! There are lots of young people who travel from all over the country and all over the world to attend the Festival. Did you know that TCM's largest demographic is between the ages of 18-48? If you are not shy about striking up conversations (and please don't be), you will find them standing in line with you, sitting next to you in theaters, in Club TCM and probably in the elevators of your hotel. One of the sweetest people who attended last year was a young college woman from Texas who frequents these message boards from time to time. She had a blast and charmed everyone she met. So, don't be afraid to talk to people. All Festival goers have lanyards with their badges and wear them around their necks in addition to the carrying Festival bags, wearing tee-shirts, etc. They are not hard to spot! I wrote about the things to do if you arrive prior to the beginning of the Festival as well as what to expect while at the Fest. You can read about it here: http://forums.tcm.com/thread.jspa?threadID=172504&tstart=0 The most important thing is to have fun and you will be surprised at how easy that is. Remember, we are all there because we love movies and we love TCM so you should feel right at home!

>There is a big diffence between the two. Frankly I could care less about how the general public views anything related to American studio era movies, actors, directors, etc.. But I would be interested in the opinions of TCM viewers. James, For the record, I took both MoviefanLaura's and Mrroberts comments to mean the wider TCM viewing audience when they referred to the "general public". And in that context, I agree with both of them, that the folks here are a very small microcosm of the larger TCM audience.

>4:3 photography would have given us the full image, such as with Gone With The Wind. and The Wizard of Oz. We would have lost half the image (the top and bottom) if The Wizard of Oz been filmed in Cinemascope. FredC, Actually, if wide screen had been used back in the 1930s, directors would have framed the scenes to fit that format (if they were filming in wide screen) and not have shot it using 4:3 framing. That makes it sound like directors and cameramen of the 1930s only knew how to shoot in 4:3 and wouldn't have taken the time to frame their movies for a different aspect ratio. We all know that when wide screen did become popular in the 1950s, those directors and cameramen did learn how to frame for a different aspect ratio. So to say they couldn't have learned or wouldn't have taken the time flies in the face of what actually happened when wide screen became available.

WRJ,, Excellent points! About getting line early, the best part of that is talking to the people in the queue next to you. Don't be nervous about striking up conversations! People come from all around the country and all around the world for the Festival and one of the most memorable experiences you can have is meeting them in line. We all have something in common, we love movies and we love TCM! It's one of the rare times that standing in line becomes fun, because of the people you will meet and the conversations you will have. The first year I met a wonderful woman named Sylvia from Canada. We were waiting to get into to see *Murder, He Says*. She had seen it back in 1945 when she was a young girl and was telling me about that. Last year while standing in line for *Cinerama Holiday*, my husband and I met a young man from France. He had small pins made for the Festiival that said "I heart TCM* and one for *Mad, Mad, Mad, Mad World*. He handed them out to us and others on line. I have them on my purse along with the official TCM festival buttons. So, don't be discouraged about standing on line. You never know who will you meet and you will have fun!

>Could someone please tell the story of how difficult it was to perform in front of the Cinerama cameras? Mrroberts, I wrote about this after last year's Film Festival screening of *Cinerama Holiday*. The two women who were featured in the film spoke before the film: When *Cinerama Holiday* was being written, the producers approached two couples, one American, one Swiss, about trading places for the film. The Swiss couple would travel around the United States and the American couple would visit Switzerland and Paris. Betty (Marsh) York and Beatrice Toller talked about participating in the film with Leonard Maltin. Both women had terrific memories of making the film and Leonard Maltin did a great job. As Ms. Toller told us, she was told by cameramen, "Don't stand between the cameras, your face will wrinkle." She was given good advice because the faces of people caught in the section of film where the film comes together, wrinkle across the screen.

>A channel can't survive today with only 60 year olds watching. They need younger people watching (40 year olds, those around during the 80s). So , that's why 80s movies are included in their programming. Not sure how you could have missed all of the threads lately about this very subject. This is one of the oldest topics dating back to the early days of this message board back in 2001-2002. Posters, in the other recent threads as well as this one, have provided statistical proof that there has been no large increase in 1970s-2000s films movies being shown. On reason for the mis-perception of this was likely the last few weeks of the series, *The Story of Film* , that ran from the end of September until mid-December. The series was dedicated to the history of film as it went along, its focus changed from studio era films to modern films. As part of that series that ran on Monday nights, TCM programmed films that were either discussed in the series or were instrumental in the era being discussed. Thus, towards the end, Monday night films were from the 1970s-2000s, including many foreign films. Modern films have always been a part of TCM's programming. On the evening the channel debuted on April 14, 1994, Robert Osborne welcomed viewers with this introduction: "Hi, welcome to Turner Classic Movies. I'm Robert Osborne, I'm gonna be your host, right here, as we present some of the best, the--finest films ever made, twenty-four hours a day. We're going to be drawing not only from the great film libraries of MGM and Warner Brothers, but also from other outstanding catalogs, so: Come join us, and see not only great films and stars from the past, *but also films from recent years,* featuring some of our newest and most watchable stars." This is the actual introduction that Robert O gave. It was part of his recent Private Screenings interview that aired earlier this month. (Emphasis courtesy of slatyonf who transcribed the quote in an earlier thread:) Here is their original mission statement: "Turner Classic Movies presents the greatest movies of all time, from the 1920s through the '80s-- featuring the silent screen, International pictures, as well as all of Hollywood's genres--commercial-free, uninterrupted, 24-hours a day." They amended that statement when the network celebrated its 10th anniversary in 2004 to include movies from the 1990s (and they may update it this spring when the celebrate their 20th anniversary). As for their demographics, the idea that their largest demographic is senior citizens over the age of 60 is an urban myth. Their largest demographic is young people between the ages of 18-48. These young people love studio era films just as much as the senior citizens. The idea that TCM is showing modern films only to entice younger viewers is a false one. If that were true, the programming would be much more skewed to modern films than it actually is. Almost twenty years after it debuted, the bulk of TCM's programming remains focused on studio era films. Just as it always has.

Clooney has also cited *The Great Escape* as another film that influenced *The Monuments Men*.