lzcutter
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Posts posted by lzcutter
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It could be:
Thunderheart with Val Kilmer, Sam Shepard and the wonderful Graham Greene,
Billy Jack or the Trial of Billy Jack,
or could be The Doors.
I'm thinking Thunderheart for some reason.
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MissG,
He even looks a bit like the King in "O, Brother". It's a wonderfully funny film that also stars John Goodman, Holly Hunter, John Turturro (sp) and Tim Blake Nelson. Great use of Appalachian and 1930s music. Includes homages to chain gang films, Robert Johnson and more.
Larry,
Isn't he also Miguel Ferrer's (Crossing Jordan, Twin Peaks) cousin?
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I hadn't quite caught on until really recently about the "cutter" part of lzcutter; is there a thread where you've told (more) about your work?>>
Bill,
There probably is but I can't remember which forum or thread it would be in. But the basic facts are I fell in love with movies when I was in my early teens. I used to drag my friends to the movies every weekend. Somewhere around 1971, I decided that I wanted to grow up to be a film editor. Not an easy thing to do when you live in Las Vegas. I graduated high school and went to the Film School at SC when film editing was still done the old fashioned way. While at SC, I also learned to project both 16mm, 35mm and interlock. We had an old carbon arc set of projectors in Bovard Auditorium on campus and it was always a treat to watch the one projectionist who was skilled enough to run it. There really is something to be said for watching black and white movies projected with a carbon arc projector. Gorgeous.
Anyways, graduated college almost 25 years ago and have been cutting ever since. Now I cut the non-linear way but I there are still parts of cutting the old fashioned way that I miss.
I was lucky, I got to learn the craft of traditional cutting and the "new fangled" way. Not too bad for mid-aged gal. That combined with living here in LA when there was still alot of living Hollywood history accessible, has made for a good time.
The era I was at SC was, looking back, an incredible magical time. The Film Society there was dynamic and headed by two young guys who put together an awesome film program for about three years. Because of their hard work, we had tributes to Gene Kelly, Sam Peckinpah (with Jason Robards, LQ Jones, Mrs Strother Martin and Don Siegel in attendance besides Sam), Orson Welles, Marty Scorcese came and talked to us about film preservation back when he first started talking about how important it was, Don Siegel which brought Clint Eastwood out for the evening, John Cassavettes and Gena Rowlands and many more.
So, that's my story in a nutshell. Still working, still living in LA.
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Sinatrafan,
It's okay. It's TCM's 31 Days of Oscar. Every year they highlight Oscar nominees and previous winners. There is usually some theme that ties them all together.
I'll ask JackBurley to stop by and link you to the other discussion threads about this.
Remember, February only has 28 days in it, so it spills over into the first few days of March. Once the 31 days are past, then TCM returns to us to Silent Sundays, TCM Imports and all the regular features, including all those classics movies we love.
I'll see if I can rustle up Jack Burley.
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"If you're blue and
You don't know where to go to
Why don't you go where Harlem sits
Puttin' on the Ritz"
A truly wonderful actor.
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Jack,
I don't mean to highjack Betty's thread but I had to chime in about Tower Records.
The one here on Sunset Blvd when I first got to LA thirty years ago, was the place to go for records. (This, of course, being before CDs).
We'd go cruise Sunset, hit Tower Records for a long peruse, then head down to Doheny, make a U-Turn and back down Sunset, past the Rock and Roll Ralph's grocery store, stop in at Tiny Naylors for late night car hop service, then head up La Brea to Hollywood Blvd and cruise the Blvd before calling it a night.
A great deal of my vinyl came from Tower Records and a little hole in the wall store in Westwood Village that catered in soundtracks.
Those were the days.
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Jack,
I have racked my brain trying to think of some moments when other directors besides those you mentioned, broke the stage line.
And of course, because I am getting older, I can no longer call them up as quickly as I could when I was a young film buff.
Too many times in some b movies, and many c and d movies, the director will break the stage line because it was either expedient shooting or he didn't grasp the concept in the first place.
Some major directors would use it occasionally to make a dramatic point but as you said, the big problem was that too often it would call attention to itself (because your brain immediately goes hey, something's wrong with that shot) and the audience would momentarily be, as you said, reminded they were watching a movie.
Were having our annual Holiday Open House this weekend which will be filled with filmlovers and film buffs. I'll try to get you some examples.
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Is the soundtrack edited separate from the visual frames...sound and picture combined after cutting?>>
Rusty,
Back in the day (the late 1960s-1980s), before non-linear editing, the picture and sound were separate. An editor's assistant had the wonderful task of synching the sound to the picture (the reason for the clapboard sticks coming together that you see occasionally in dvd featurettes these days).
The assistant would then break down the scenes for the editor.
The editor would cut together the film by cutting both the film and the soundtrack. And, it was always fun when you would screw up and go out of sync. You had to roll back, find where you made the error and fix it by adding or subtracting spacer in the soundtrack).
Those were the days.
Once the film was cut together, a dupe of the workprint was often made and a temp mix completed (mixing all the tracks down to one mag strip) and then the rough cut could be shown. At these screenings, the film was threaded into the projector and the corresponding mag track was threaded onto a special sound projector and these two were "interlocked" together so that the audience could watch the film.
Once the film was locked down and all the sound effects, music and dialogue tracks built, then a film would get the full mix treatment and the workprint and all the boxes of negative would be sent to the negative cutter, who would assemble the negative based on the edge code numbers of the film.
Then the negative would go to the lab for processing and color correction and at that point the film and the sound would be married onto the print.
We had easy in those days with moviolas and everybody's favorite, the flatbed.
I loved working on a flatbed because it was easier than the working the reels and foot pedals of a moviola.
The editors who preceded me that did it all with moviolas and light boxes, they were the true masters.
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Jon,
Hoping one of these days you'll move out here to Southern California.
No snow, some good theatres, some good revival houses and some history.
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I don't know which disturbs more:
The original post or the number of posters here who think that Bob is drinking heavily before he goes on camera.
It may just be that RO has a illness that is none of our business that causes him to occasionally slur or swallow his words. It may be he is tired after doing a number of stand-ups back to back.
But, rather than give the man the benefit of the doubt, we (the universal we) feel compelled to do just the opposite.
I continued to be flabbergasted at the number of people who post about how much they love TCM and/or RO and just as quickly turn against them.
As another poster once said:
I'm embarrassed for TCM.
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And newbies wonder why Robert Osborne doesn't post here.
And other posters wonder why some of us say "God I hope not".
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Vallo,
But would you have some elderberry wine?
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"Convention City", I think, would be mine.
There are so many lost films, especially silents but every once in awhile, they turn up in the darndest places.
So, you never know.
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As I said also, directors have to go for the visual, because actors today can't act. >>
Anne,
My apologies, I took your original comment to be about all actors, not just young ones.
Try to name one girl of 18 who could do what Debbie Reynolds did as Kathy Seldon at 18.>>
I don't know how old Jennifer Hudson is but she is said to burn up the screen in her film debut as Effie in "Dreamgirls". According to the numerous articles, she is a former American Idol contestant who more than holds her own in scenes with Jamie Foxx, Beyonce and Eddie Murphy. She will likely be a best supporting actress nominee and all reports right now indicate that she will be hard to beat.
Look at Bette Davis, Joan Crawford, Joan Blondell, etc. All started in their teens and carried films as the leads. There is NOBODY with that kind of talent today. >>
Dakota Fanning is still young and is a marvelous talent. She was great in "Man on Fire" with Denzel Washington. Elijah Wood began acting as a child and carried the three "Lord of the Ring" movies.
Jake Gyllenhal was still a teenager when he had his breakthrough role in the wonderful "October Skies".
Daniel Radcliffe and his two "Harry Potter" co-stars have carried the Potter series from the beginning and I believe movie # 4 is coming out this May.
Reese Witherspoon began acting as a child (I believe her debut was in "The Man in the Moon") and has made the transition to adult film actor and Academy Award winner.
Neil Patrick Harris began as a child on "Doogie Houser", went to Broadway and, I think was Tony nominated for "Rent" and then returned to Hollywood and has a good career in television and the movies.
Topher Grace, Kiera Knightly, Orlando Bloom, Heath Ledger, Sean Astin, Mary Lynn Rajskub (the wonderful Cloe on "24"), Nick Stahl, Joaquin Phoenix, Minnie Driver (who began as a teen actor in "Circle of Friends"), Halle Berry, Peter Skaarsgard, Sarah Paulson (Deadwood and Studio 60), Freddie Rodriquez and Lauren Ambrose (Six Feet Under) are all, in my opinion, talented and good young actors.
Others just outside your age range:
Sandra Bullock, Julia Roberts, DL Hughley (Studio 60), Jamie Foxx and Hugh Jackman.
Every generation produces good actors. Many of the stars of the classic studio era talked later in life about working with young actors (Jimmy Stewart liked working with a young Kurt Russell as I recall) and being able to pass the "mantle" on.
We here on these boards tend to think that no one could be as a wonderful as the actors we love when the reality is there are alot of talented and hard working actors of all ages going to work every day, honing their craft and doing a good, sometimes even great, job.
They are the ones who inherit the "mantle" that continues to be passed down as it always has.
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Filmlover,
What a great schedule! All those Warner films. I'd be in heaven. Wonderful choices and your themes are imaginative.
I can only imagine the work that must have gone into this.
Congratulations on a job very well done!
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I think it's partly that yes, there are no Stewart/Bogart type actors around today,>>
Sugarpuss,
I like to think of
Denzel Washington
John Malkovich
Jeremy Irons
Meryl Streep
Vigo Mortensen
Maria Bello
Judy Dench
Bob Hoskins
Helen Mirren
Tobey Maguire (can do much more than just be Spidey)
Matt Damon
George Clooney
David Strathern
Holly Hunter
Pierce Brosnan (much more than just Bond)
Greg Kinnear
Phillip Seymour Hoffman
just to name a few, that are worthy of being called good actors and some of them are certainly in the league of Stewart and Bogie.
There are good directors and good actors working today but people don't tend to think of them because our society is too busy focusing on the celebrities of the moment instead of applauding the men and women who actually work at their craft.
I'm thinking you can probably add an actor or two to my list!
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Brad,
If you've not seen it, you should check out Cary in "None but the Lonely Heart". I think he'll surprise you.
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In the China thread one of the posts has a long link to Amazon. The Rob Zombie thread has a long link to ebay.
Those long links throw the margins off.
BTW, it's not your computer, the China thread's margins are messed up because of the link.
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Anne,
If someone posts a long link it will offset the margins of a thread. Most ebay links are very long.
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Otterhere,
If the past selections from the annual Robert Osborne Film Festival that is held in Athens, GA these past few years is any indication, RO likes films from all eras.
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Sugarpuss,
Congrats on a wonderful schedule and glad to see you back on the boards!
I took a breather on this challenge but am thrilled at the schedules that you and Kyle have posted!
Looking forward to others between now and midnight tomorrow night.
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Anyone familiar with the 180? rule? Sorry to be so academic, but I'm curious about this stuff. Can you think of examples of when the "rule" was broken and why? Doesn't it draw attention to itself; reminding the audience that they're seeing a movie? Can you give some example of a positive effect from "breaking the rule"? >>
Jack,
I'm thinking the 180 rule is the stage line and you are asking for examples of breaking the stage line and why that works in some films and not others?
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w/Polly Bergen / Cry Baby >>
With William Demarest/Escape from Fort Bravo
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Jimmy Stewart and Kim Novack in "Vertigo" going up that rickety spiral staircase in the mission.
Dorothy MacGuire in "The Spiral Staircase" slowly walking up the staircase with only the candle to light her way.
63 movies after 1970?!?!
in General Discussions
Posted
You would think 31 days of Oscar month would be an excellent month, with all the great movies from Hollywood's golden age to choose from, but the last few years we get an overdose of post 70's.>>
A great deal of that blame has to laid at the feet of the various Home Entertainment and Restoration divisions at the various studios. Older classic films, outside of the very popular ones, are not a priority at most divisions, even if they were Oscar winners.
Warner Bros, as always, is the one studio that does do it right but even then there are budget and element constraints.
It would be wonderful if every film that was ever nominated and all the films that were nominated in the acting and directing categories were available on a digital format.
But the truth is, only a small number of those in the pre-1970s are.
It's not TCM's fault on this one. They have to rent every film they show and they are limited in Oscar winners and nominated films by what is available.