lzcutter
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Posts posted by lzcutter
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From what I've read on here, the Canadian schedule is different for some reason. >>
It's usually a rights issue problem. There are times when TCM runs a film but the rental/lease contract only covers US broadcast rights. That means the film cannot be broadcast by TCM in Canada because the contract does not cover Canadian broadcasts.
That then forces TCM to substitute a film that it does have the rights for Canadian broadcast.
TCM does not own a film library anymore. All the films they show they must rent/lease from studios and other sources so they are at the mercy of the rights holder on the broadcast rights.
On the top banner of the website above are headings. The one for schedule, if you click that, takes you to the daily schedule. There is a button you can click to get the Canadian schedule which might help.
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Larry,
I had to hurry home this evening to tell you about this.
This evening I had the opportunity to go to an event featuring author Joseph Wambaugh talking about his new book "Hollywood Station".
When the interviewer, James Ellroy, another famous Los Angeles writer, opened the discussion up for questions from the audience, the first man he called upon asked if there was any chance that a non-fiction book about the best kept secret murder in Los Angeles History would ever be written.
What murder was he referring to? Why Ned Doheny, of course.
How weird is that?
The bad news, neither Ellroy or Wambaugh were familiar with the case. However, author Michael Connolly was in the audience.
So, you never know.....
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Back again, eh. Have you considered a hobby of some sort?
>>
I think we are the hobby.
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TCM wins with me for that very reason. I like the diversity, and I like the fact that sometimes I'll end up watching something outside what I regard as my territory of silents and precodes, and end up loving it.
I may be the only person who is completely happy with what they're doing. OK, not completely -- I could live without "In the Good Old Summertime." But other than that, yeah, they do a magnificent job, even if all the stuff isn't to my taste. >>
Jon,
You are not alone.
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Oops
Message was edited by:
lzcutter
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I believe Gene Wilder uses the original "Lulu Belle" verse when he and Peter Boyle do their song and dance number in "Young Frankenstein"
I believe they use three verses from the song.
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Larry and Delores,
The story around town here is that the guy who married Martha Raye did, in fact, take very good care of her. Healthwise, she was a mess and but from the stories I have heard and read in the LATimes (and possibly on the biography of her that appeared on A&E), he made sure that in her waning years she was comfortable, got good medical care and by all accounts, wasn't just in it for the money.
Hope that helps!
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Were talking about box office appeal. The people who buy tickets dictate what's a hit and what's not a hit not Hollywood and that is logic. >>
If box office appeal is all that matters in making hit movies then most of the classic films we love would be unknown because many of them bombed at the box office upon their initial release.
It was only years later, thanks to a new generation of filmgoers that these films found an audience and are now heralded as classics because it often didn't happen on its original release.
No offense, Bartlett, but if equating good films to only box office appeal I think your logic might be a tad flawed.
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The thing is, TCM is known as The "Classic Movie" channel (Un-Cut and Commercial Free) so when a newer film's are shown there will always be flack. Because we can find the newer films on just about any of the other Cable channel.>>
Vallo,
I actually think that is one of those myths we love to believe here.
If a studio makes a deal with HBO or any other channel to run certain titles, then those movies are not going to be seen on other channels because if I recall what Markfp and coffeedan have posted in the past, those contracts are usually exclusive for either x number of airings or for x number of years.
So, if TCM is running "Chinatown", the only place you can watch it will be TCM. If HBO is running "The Lion in Winter", HBO will be the only place you can watch it. If Encore is running "The Magnificent Seven", that will be the only place you can watch it and so on.
TCM is however, the only place you can be assured that you will be watching it in its originial aspect ratio, uncut and commercial free.
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Cineast,
It is one of those crimes of Oscar (he has committed a few in his many years as golden boy to the Hollywood crowd) that Ennio has not been awarded. He should have won for "The Mission", should have won for "Good, Bad and the Ugly", "Once Upon a Time in the West", should have won for "Once Upon a Time in America", should have won for "The Untouchables".
He did a wonderful score for little seen film starring William Hurt, Melissa Leo and Timothy Hutton. I can never remember the name of it but the main theme is wonderful.
Anyone know the name of the film and where to get a CD or download of the main theme?
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Another wonderful evening spent with Robert O (the consumate interviewer) and the legendary Stanley Donen.
I had no idea that Donen was only 19 when he and Kelly got the nod to go to Hollywood. Even better, being that young and figuring out how to shoot the mirror image dance sequence.
Oscar Levant as Cosmo? I love Oscar Levant but not as Cosmo.
Loved how Donen's memories of "Singin' in the Rain" differ from Debbie Reynolds. Doesn't make either one right or wrong but is a wonderful example of how we remember experiences differently.
Loved the story of shooting the dance sequence from "Royal Wedding" with the cameraman strapped in on his belly.
Loved the remark about how after working two years on Summer Stock with Judy Garland, director Charles Walters said he just didn't have it in himself to do it again with her on "Royal Wedding".
Mr Cutter really liked Audrey Hepburn's singing voice.
What did I learn, Dorothy?
That taking the time to rehearse makes all the difference.
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It's Sturges, in case anyone wants to look up the career of this wonderful, uniquely talented writer-director. >>
CineSage,
I hang my head in film shame. That typo never should have gotten by me. Especially since I knew Sandy back in the late 1970s when she worked at the USC archive.
Thank you for pointing it out and encouraging others to reserach Preston Sturges
Blushing beyond belief in embarrassment.
lynn in sherman oaks
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Kyle and Jack Burley explain it all:
http://forums.tcm.com/jive/tcm/thread.jspa?messageID=7852711
As for the "punks, goths, hippies, junkies" description all I can say is "sigh*"
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But they are showing black and white film clips to promote the films on TCM. Each month's promos are filled with black and white images from classic films.
The objection, nine times out of ten around here is the choice of music. And that's a different argument than the material used.
I don't think they are specifically targeting "young" people. When I hear the word young I think of teen-agers and younger. I think TCM is going for a wider audience that includes young people, 20 and 30 somethings, mid aged folks like myself and the baby boom generation. Just because some of us may not care for the music that goes with the promos doesn't mean that people in their 40s and 50s will immediately dislike it. Some boomers are very ecletic in their music tastes.
As for the imagery, TCM is keeping up the times. As I said earlier, some of the promos are beautiful and work very well. If all TCM did was show film montages to classic songs every month for their promos we would soon be crying for them to try something different because we would get bored with it.
As for making specific trailers to show in theatres with specific films, that is a costly endeavor. There is the expense of producing the trailer and I believe first run theatres still charge major bucks to run trailers. The specific trailers would have a short life span where as the "Ordinary day on TCM" trailer that plays in revival houses has a more timeless quality to it. But revival houses like the American Cinemateque's Egyptian theatre here in Hollywood doesn't charge the prices that the first run theatres do. Plus the revival houses promote TCM with copies of Now Playing and such.
Any way you slice it, TCM is in a no-win situation with the majority of people who post here because none of can agree on a single vision for the channel. My vision is not Jack Burleys, whose vision is not MrsL's whose vision is not JonParkers, whose vision is not FredCDobbs, whose vision is not filmlovers, whose vision is not sweetbaby's and on and on and on.
TCM is trying to make us all happy because making us individually happy is impossible.
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Filmover,
I haven't had any problem but I'm with DirecTV. Filmlover, are you with Dish?
Maybe there is a problem with the Dish satellite?
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Many different film organizations around the country have been celebrating Otto Preminger's 100th birthday last month and this one.
Watched "Anatomy" last night, great title sequence by Saul Bass. Loved the music by Duke Ellington (with a cameo by the Duke!).
Eve Arden should have had a bigger career. Really liked the character actor who played the guy in charge of the trailer park (he looked just like Richard Brooks). Also, great to see Murray Hamilton when he was young.
I can see why this film was so controversial in its day. Lots of codebreaking all around.
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If IFC was running it that explains why TCM is not.
TCM will have to wait for the IFC contract regarding this film to expire before TCM can run it.
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The point is, attract new people with normal TCM programming.>>
But isn' that what they are doing? They are using the classic film images, just using today's music instead of movie soundtracks and using a modern sensibility to tie it all together (the girl with the 'scope, the Christmas ad currently running, November's promo (which juxtaposed images of democracy, faith and the regular guy prevailing in a month when we held a national election- who says TCM doesn't have a sense of humor or sly wit?).
You can only do so much every month with images and iconic songs or music. I really liked the stand-alone John Ford promo last month because it captured the flavor of the man and his most famous films. But not every director is Ford where you can associate one location with so many films. Also, it was different from the previous months.
I think Raygun, the company that produces many of the monthly spots, uses too many of the same ideas and effects each month and I wish they would open their canvas wider so that each month doesn't start to fill interchangeable.
But, many of the spots they are producing are quite beautiful and someone has a clever wit. I don't care for alot of the music they use but then most people today (not just young people) have no clue about movie soundtracks and the music won't resonate with them the way it does with us. We already watch TCM, they don't need to talk us into watching.
But for the new viewers, regardless of age, they have to use a more modern sensibility to keep people from hitting the channel button on their remote. It's not easy to sell a channel in 60-90 seconds and keep today's viewer engaged.
I think TCM knows this and that is why they have various ads running in theatres and on television.
Message was edited by:
lzcutter
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It was based upon the book "Complicated Women" and the lack of scenes was likely from a number of factors:
Many of Crawford's best pre-codes need to be restored. A couple of them may be lost films or tied up with rights.
The film was produced by TCM so they likely tried to use as many clips from the Warners/TCM library as they could because every time you use a film clip from another studio's film, you have to pay to use it.
The budget for this film may have hampered the original intent. There was a list of interviewees in the end credits and then an additional list of interviewees who did not make the cut. Was this because the production ran out of money because the original intent was too ambitious or was there just not enough money in the budget to cover the cost of all the film clips to highlight what others had to say?
I don't know the answer but wish the docu had been longer.
Perhaps one of these days TCM will do docu on "Sin in Soft Focus" and do a whole month of pre-codes.
A girl can wish.
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Pandora's Box was made in Germany as was Diary of a Lost Girl.
According to the TCM database, Pandora's Box is repped by Janus here in the States.
It may be that the film is heavily booked on the revival circuit as it is Louise Brook's centennial birthday.
Girl in Every Port is a Fox film and Beggar's Life is Paramount.
Maybe after all the excitement dies down from her birthday, perhaps
TCM can show the two German movies.
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It's like we want this one channel to handle every single thing we want to see, with no regards to what their limits might be (budget, availability, etc.).
I say cut them some slack. >>
Filmlover,
A great post. I agree 100% with it. Sometimes, it feels that each one of us thinks that TCM should only be programming for our individual tastes and we seem to forget that each one of us is not the only person watching TCM.
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Pintorni,
In the edited version, there is a scene on Christmas Eve where Baby Face receives the other book from Crager along with a note where he admonishes her for the path that she has taken.
Reading the note, she realizes how awful her life is.
I saw the edited version on TCM last year and then had the good fortune a few weeks later to see the restored "Baby Face" on the big screen and talk to one of the LOC's top archivists.
Filmlover,
No problem with picture or sound from DirecTV here in the Valley.
Larry,
I, too, like Complicated Women though I wanted it to be longer! Karen Morley and Frances Dee (bless their souls) were great. In the credits was list of more interviewees that did not make the cut.
Wish someone would make a docu based on Mark Viera's "Sin in Soft Focus".
Lastly, Molly Haskell doesn't like the camera and the camera doesn't like Molly.
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Central Casting Building:
The southeast corner of Hollywood Blvd and Western. A beautiful beaux arts building referred to as the Louis B Mayer Building because old Louis had an interest in the building. Back in the studio era, if you wanted to be hired as an extra this was the place to register and hang out. Building still stands with the original architecture intact.>>
I'd forgotten until I saw "Complicated Women" earlier this evening that the Breen Office was also in this building.
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Anne,
I always thought of "Dodsworth" as a film very true to the era and people it was portraiting.
In the era of "Dodsworth", divorce was not as common as it is today. People were more inclined to work out their differences or live with their differences rather than divorce. Marriage was something to be worked at rather than the alternative.
Dodsworth loves his wife, foilbles and all. She is a silly woman but, because Walter Huston does such a great job with the character, we believe that somewhere in her past she must not have been so self-absorbed for Dodsworth to have fallen in love with her. Or maybe she was and he was just amazed that such an equisite creature would fall in love with him.
Either way, he loves her despite her faults. Divorce is not an easy option for him. We have to see him struggle with that decision. And struggle he does. His wife is not just vain, she is one of those women who believes that she is nothing without her looks. (Which today we would attribute to self-esteem problems, call Dr Phil and get her on the road to recovery). She has to be reassured every waking moment that she is attractive and that men do want her.
Dodsworth has to make the painful decision to live the rest of his life with her or compromise his long held belief in marriage is for life so that he can have a better life with Mary Astor's character.
It is a wonderful character study of man who wants so to be a good husband no matter what and discovers that sometimes being a good husband doesn't mean you have failed.
He has to go on the journey of traveling alone so that he can rediscover the life he can still have.
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