lzcutter

The STUNT???>> Otterhere, Every year for the 31 Days of Oscar there is some sort of connective theme that ties all the Oscar nominated/winning films that they show together. As for post-1959 films, they have always been part of the TCM schedule.

Cinemascope, UCLA also offers a degree in film preservation.

I am sorry to say that " Bat Masterson ", and " The Riflemen " fall into that category of TV Western that I do not care for. Just my biased opinion. >> Many a western director continued to get a pay check because of their contributions to "Bat Masterson" and other 1950s television westerns. Other up and coming western directors like Sam Peckinpah cut their writing and directing chops on shows like this. Many character actors like Lee Marvin, soon to be stars like Robert Redford and studio era stars guest starred on westerns like "The Rifleman" and "The Virginian". And lest we forget Miss Barbara Stanwyck as Victoria Barkley on "The Big Valley".

What, exactly do you mean by 'original aspect ratio'?>> Anne, According to wikipedia: Original Aspect Ratio (OAR) is a home cinema term for the aspect ratio or dimensions in which a film or visual production was produced ? as envisioned by the people involved in the creation of the work. Up until the 1950s, the aspect ratio of American cinema was basically a standard format, 1:33 (commonly known in broadcast as 4:3) But with the advent of television, the studios produced Cinemascope, Vista Vision and other wide screens variations. In order to show wide screen formats on television, the picture has to be letterboxed in order to include the entire viewing frame of widescreen. While not all, many films produced in the 1950s -1970s were in widescreen formats or early Panavision that require letterboxing. Modern films require letterboxing. TCM runs a great, informative clip about the difference between a watching a widescreen film letterboxed and one that is shown in pan and scan. In pan and scan you don't see all the action. The pay channels such as HBO, Showtime and Starz and all their sub channels, rarely if ever, show a wide screen film in its proper aspect ratio, ie letterboxed. That's why we love TCM because they do.

Christine, It is likely "Streets of Laredo" that you are thinking of. It is in "Three Godfathers" and is used extensively in "Bang the Drum Slowly" In "Drum" the pitcher Piney Woods even sings the ballad at one point. It is one of DeNiro's first films and he and Michael Moriarity are wonderful in it. Vincent Gardenia deserved the best supporting nomination that he received. When folks here post that there are no good films made in the 1970s, this is one I always think of. The lyrics: As I walked out on the streets of Laredo. As I walked out on Laredo one day, I spied a poor cowboy wrapped in white linen, Wrapped in white linen as cold as the clay. "I can see by your outfit that you are a cowboy." These words he did say as I boldly walked by. "Come an' sit down beside me an' hear my sad story. "I'm shot in the breast an' I know I must die." "It was once in the saddle, I used to go dashing. "Once in the saddle, I used to go gay. "First to the card-house and then down to Rose's. "But I'm shot in the breast and I'm dying today." "Get six jolly cowboys to carry my coffin. "Six dance-hall maidens to bear up my pall. "Throw bunches of roses all over my coffin. "Roses to deaden the clods as they fall." "Then beat the drum slowly, play the Fife lowly. "Play the dead march as you carry me along. "Take me to the green valley, lay the sod o'er me, "I'm a young cowboy and I know I've done wrong." "From here on out, I rag on nobody" Henry "Author" Wiggen

Sam and Kyle, Another good one would be "Every Breath You Take" by the Police. Every breath you take Every move you make Every bond you break Every step you take Ill be watching you Every single day Every word you say Every game you play Every night you stay Ill be watching you Oh, cant you see You belong to me How my poor heart aches With every step you take Every move you make Every vow you break Every smile you fake Every claim you stake Ill be watching you Since youve gone I been lost without a trace I dream at night I can only see your face I look around but its you I cant replace I feel so cold and I long for your embrace I keep crying baby, baby, please... Oh, cant you see You belong to me How my poor heart aches With every breath you take Every move you make Every vow you break Every smile you fake Every claim you stake Ill be watching you Every move you make Every step you take Ill be watching you Ill be watching you Ill be watching you Ill be watching you Ill be watching you... I've already got a half a dozen montages running in my head.

In fact, I think I'll give in to temptation now. Here's a thread from last year, when you linked an excellent article about Nitrate film that Leonard Maltin wrote:>> My Lord, Jack has it really been a year that I have been talking about all this???? I'm not sure whether to be be deeply chagrined or to keep fighting the good fight (as they say)

Bill, Regarding GWTW and Technicolor, a silent newsgroup that I am a member of, had a long discussion about this very matter awhile back. This group is made up of primarily archivists, film historians and such. The gist I gathered from that conversation is that there are at least 7 different prints of GWTW that have been done over the years. 1 The original nitrate that had the color controlled by Natalie Kalmus at Technicolor. This print might appear with more saturated yellows if not projected on a carbon arc projector which was the norm for projecting back in the day. 2 A 1954 re-release where the color was much more saturated per Selznick's instructions and without Kalmus' input. 3 A 1961 re-release with saturated color and mag sound. The mag sound is now prone to vinegar syndrome. This was the 100th anniversary of the start of the Civil War and a reissue was done to commerate the date according to press releases from that time. Others say it was re-issued because The Ten Commandments had surpassed GWTW as the top box office film of all time and MGM put it back in circulation to maintain its #1 status. Is said to have been made from the 1954 re-issue master neg. 4 A 1967 re-issue in Eastman Color and blown up to 1:85. Was said to be nothing special. Others maintain that it was made from the 1954 re-issue master neg. 5 A circa 1974 reissue. 6 A 1989 50th anniversary reissue that many refer to as "infamous" and "toned down" in terms of color. Is said not to look like any of the other prints. Some say it was intentionally printed that way on orders from higher up the food chain. 7 A 1997 reissue which was Cinemascope and a dye-transferred Technicolor print. The master used for this reissue was the "infamous" 1989 master. 8 The recent WHV DVD boxed set (2005) is said to be the best of the transfers since 1954 but often what happens with artifacts and such are the legacy of previous printing and restoration. Cinesage may have more in depth or up to date knowledge.

This is no intention to **** you off but, Shawshank, Scissorhands, Goodfellas, Raiders, and Meanstreets, can all still be seen on the paid movie channels.>> Anne, You are right, those films and many others can be seen on pay channels such as HBO and Showtime. But, the problem is, they won't be presented in their original aspect ratio on those channels. TCM, like HBO and Showtime, shows them uncut and commercial free. But TCM is the only one that shows them in their original aspect ratio which means you get to see the films the way the filmmakers intended. Also, TCM shows many films, both pre-1960 and post-1960, that are available on DVD and that may be why so many people enjoy watching the channel.

Moira, I have the autobiographies of Wellman, Walsh, Hawks and Vidor along with the bio that Bogdanovich did on Alan Dwan. I also have Schickel's "Men Who Made the Movies" book. Wellman's is by far my favoritie with Walsh's coming in a close second. I had a very hard time reading Vidor's for some reason I found his writing style very dry. So, hightail it on down to the library and pick up Wellman's "Short Time for Insanity" and Walsh's "Each Man in His Own Time". You won't be disappointed!

Moira, Great suggestion. Another thing posters can do to avoid long links is go to www.tinyurl.com and using that site they can convert long links into short links and then cut and paste them into their posts.

I'm sure you didn't mean to sound condescending... yes I was well aware of the wide array of problems that can occur when trying to use the best source material for a video transfer. >> Cinemascope, I'm sorry if my response sounded condescending as that was not my intent. <> In theory you are correct about the producing studio being the one most likely to have the elements. The point I was trying to make is that not every film's elements have survived the years. <> Overseas archives can often yield some treasures. Warners Home Video is currently scouring everywhere in hopes of finding the missing footage from "The Sea Wolf" in hopes of being able to restore it to its original length. Again, sorry for the tone of my earlier post.

What ever, TCM really has no clue.... >> WRJ, I'm confused as to what you are referring to TCM not having a clue?

I mean don't you want to hear from those who remember??? >> WRJ, Yes, I very much would like for them to be interviewed. They, no doubt, have some great stories to tell. I am always interested in hearing the stories of history that has passed. It's what I do for living. Too often the generation that created the history has passed away but their children often are able to share that history. I think it's a good idea and I hope TCM is listening.

William Wellman, Jr has just published a book about his father "A Man and His Wings". It's getting good reviews. Has anyone read it?

WRJ, I'm not sure what your question is asking for exactly (how the sons and daughters feel about their parents or their film contributions or their careers) but I wanted to let you know that William Wellman, Jr has a book out on his father called "The Man and his Wings". It's getting good reviews.

That would definitely open the field to many more movies. For composers who produce, you would have to include Rodgers & Hammerstein. For directors who act, the first that comes to mind would be John Huston. You could also include John Sayles and Henry Jaglom. And let's never forget Orson Welles. >> Don't forget the man you love to hate: Erich von Stroheim, the director of "Greed" and "Queen Kelly". He was also a screenwriter. He is great as Max in "Sunset Blvd".

Hey Kyle, I like your idea on writers and directors. Don't forget Ben Hecht. From the looks of things, he not only co-wrote some classic movies like "The Front Page" but was also a director and a sometimes actor: http://www.imdb.com/name/nm0372942/

The press release and the TCM Underground site could have been clearer that Rob Zombie's hosting was not a permanent thing if this was the plan all along.>> Miceland, It may be that RZ thought that he could do both (prep Halloween) and do the hosting of TCMU. However, he may have realized that both required time and if he had to make a choice, he chose "Halloween".

Last month I asked on General Issues 'why' and the reply was they don't consult each other in scheduling, which I can understand, but do they at least look at the previous month? >> Anne, The General Issues forum is for technical problems with the website or with TCM. TCMProgrammr may not have seen your question since it was in the General Issues forum.

I mean, if there's a good source material anywhere, it should still rest within the vaults of the studios that originally owned them, even if the copyright expired at some point, right? >> Unless there was a vault fire, or the film elements were melted down for their silver content, or the film was originally on nitrate and decomposed or the studio threw out the elements at some point because they needed the storage space or the elements were mislabeled or the elements were on safety stock but have faded to pink or the people in Home Video have no idea of what films they have their in their in their libraries.

I would like to see "The Stunt Man" again. I saw it a year after it first came out and thought it had been a little overrated, but O'Toole was fine as the movie director in the movie. (I guess based on John Huston.) >> I would sell my brother to see "The Stuntman" again. A wonderful film, shot on location at the Del Coronado down San Diego way with a wonderful performance by O'Toole and a great soundtrack. An under-rated gem of film from the late 1970s/early1980s.

Vallo, I think I read it that Shane was coming to TCM in one of the recent press releases that TCM posts.

My understanding is that MGM as a film production/distribution company of theatrical releases and the MGM film library are two very different things. Ted Turner held on to the MGM library when he had to sell everything else....>> Cinemascope, Turner bought the pre-1986 MGM film library. When Turner did the merge with Time-Warner the Turner Film library came under the control of Warner Bros. The post-1986 film library is owned by Sony.

CSJ, Very true about the inserts of the clock would have had to be shot at some point before Williams could edit them in. There was an article back in the mid-1970s in the old AFI Magazine about the cutting of "High Noon" and Williams said that the idea to add the clock ticking down was his and he added the shots after preview audiences returned them less than satisfactory preview cards. Was Williams taking more credit than was due, I don't know.