lzcutter
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Posts posted by lzcutter
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> Someone earlier mentioned AVS Forum,well i hang out there a lot and i can tell you that there is often quite a lot of angry talk directed towards TCM for calling themselves TCM-HD,when there is no HD in TCM-HD.
Really? Do they not realize that there are a number of channels that are upconverted HD and not true HD? TCM is not alone.
Until these channels have the money to upgrade their channels or broadcast centers to true HD, they will continue to broadcast an upconverted signal.
It's hardly bait and switch. TCM has not tried to hide that fact. Even before TCM HD was even available, TCM staffers were telling people in interviews that it would be an upconverted signal and that going true HD was in the plans but that it would take time to get there.
If you are so unhappy with the upconverted signal, the standard def channel should still available to you.
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TCM France (and other European countries that TCM broadcasts in) don't get the same programming that we get in this country. Their broadcast feeds are entirely different.
As for here, while TCM is shooting in HD, the broadcasts go out of the Peachtree Center (we learned this a few years back when their was a snafu that led to a Yugo commercial inadvertently being broadcast on TCM) in Atlanta. That Broadcast Center is shared by TNT and TBS and possibly others.
The Broadcast Center needs to be converted to HD before TCM can broadcast in true HD. Converting a studio to true HD costs major $$$ and is labor and time intensive. MrCutter does this sort of conversion for a living so I have an idea of how expensive and labor intensive it can be.
So, in addition to more HD masters needed for classic films, the Peachtree Broadcast Center needs to be upgraded as well.
Once that happens, TCM should be able to broadcast in true HD.
But, given the economy, Time-Warner doesn't seem to be in a hurry to fund that upgrade.
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Chief,
I am so sad these last few days.
I was a big fan of Chad Everett's back in the day. I loved *Medical Center*.
I fell in love with Simon Ward when he appeared in *The 3 Musketeers* and *The Four Musketeers*.
And Frank Pierson's films (as writer and/or director) are some of my favorites, especially *Dog Day Afternoon*.
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> from what i have read, many tv stations are not showing anything with a lot shooting because of what happen last friday.
Over the weekend some of the network channels pulled programming that had shootings but most of the cable networks didn't.
I think TNT, TCM's sister station, even aired *The Dark Knight* with no outcry.
There's been no announcement that TCM has reworked the tribute to Ernie Borgnine.
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4, 5, 6
Wanna play Pick Up Stixs?
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> I did not say which version it was that aired on August 3, 2011. It was the 1940 version. I should have put this in my post. Sorry about the confusion.
No problem. Given that, it certainly sounds like the 1929 version of *The Letter* that is airing in October is a TCM premiere.
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Yes, but Musikone said that the 1929 version aired last August 3rd:
> "The Letter" was aired by TCM on August 3, 2011 at 7:30 PM (Eastern)
and the TCM schedule Fedya quoted from indicated that it was the 1940 version that aired.
The 1929 version was released by Warner Archives on DVD on June 21, 2011.
According to a TCM staffer who posted here a few months ago, there is a year-long moratorium on new WB Archives releases before they can air on TCM.
So, there's a discrepancy somewhere and the question seems to be:
Has the 1929 version previously aired on TCM?
Edited by: lzcutter for clarification
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AMC has had the exclusive rights to the *Godfather* movies for years. Prior to their recent agreement in 2011, AMC had the rights thanks to a previous contract with Paramount.
It's a situation similar to ABC having the rights to *The Ten Commandments* for the last forty years and continues to have the exclusive rights to that film.
Like Helenbaby, I can only recall TCM airing *The Godfather* and its immediate sequel once. Not sure how they managed it but it was a one time only broadcast on TCM (and Doris Day fans were not happy that Day got bumped that August).
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> "Opens today in Manhattan" or "Opens today in New York and Los Angeles" .
Another reason is that to qualify for Academy consideration, a film must play a week in Los Angeles or New York City within a calendar year.
Even films that have no hope of garnering Academy consideration are loath to admit they have no chance and roll the dice and cover their butts on the off-chance that fate may reward them.
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> Yep. Just the same old same old.
Really, because it looks like (from a posting below) the Universal horror films are being shown during prime time on Halloween.
Which posters here have been clamoring for the last few years.
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> The movie "Gangster Squad" has been pushed back and the trailor pulled
The trailer for *Gangster Squad* has been pulled but so far, the film has not been pulled or pushed back from its release date.
The trailer was attached to about 30% of the *Dark Knight Rises* theaters. (I'd say prints but don't want to get into a semantics debate) and Warner's made the decision to pull those trailers.
There is internet chatter that Warner Bros is considering delaying the release of the film but there has been no official statement from the studio regarding that.
Edited by: lzcutter because screenings aren't the same as theaters. But can a print be called a print even if it's screened digitally?
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Roy,
I thought it might be Wallace Beery but my love for Vic steered me to name him.
As for Errol Flynn, big ears or not, it looks more Gable to me.
And I can definitely see both Gilbert Roland and David Niven in there.
But the pipe really threw me and steered me away from Spencer Tracy.
Speaking of Vic, I guess it's time "for me medicine!"
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Joe,
Is that Vic "I gotta take me medicine" McLaglen next to Sir Aubrey?
Right to left in the back row;
Clark Gable, David Niven, don't have a clue (probably something very obvious), William Powell.
Those be my guesses!
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> But to answer most of your comments in regard to pre-code films: sure, they were a bit racy,
Audrey,
To follow up on what Mark posted, what seems racy to us looking back eighty years later at these films, at the time often bordered on scandalous and outrageous to the moviegoers and the general public of the early 1930s.
The prostitution, drugs, violence, anti-prohibition, sex and more that were part of many movies being released in the early 1930s outraged not only politicians and the Legion of Decency but moviegoers as well.
The moguls moved to put some teeth in the Production Code rather than face legislation or worse have the Legion of Decency and/or state censorship boards tell them what could or could not be portrayed on the screen.
While in many ways, that may seem today like an over-reaction to some racy films, back then it was a very serious matter not to be taken lightly. Newspapers were filled with columns expressing outrage over the movies and the messages that they were sending that an immoral lifestyle was to be glorified.
Kevin Starr even covers the era in his wonderful history of California series, Endangered Dreams-California in the 1930s which reminds us that the pre-code movies and their content were portrayed as a big social problem not only for Hollywood but for society in general.
To avoid a bigger backlash that the moguls felt they knew was coming based on how vocal their opponents were, they chose to enforce the Production Code and put Joseph Breen in charge.
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Mr6,
I hope this helps:
I missed most of the intro to *Forbidden Planet* . I came in at the point they were talking about the Disney animator. According to a good friend of mine who did see it, Ben Burtt described and demonstrated the eerie (and highly imitated) experimental music created painstakingly by Greenwich Village avante garde composers Louis & Bebe Barron, who had a visit from Dore Schary himself when the filmmakers were looking for appropriate sounds to enhance the sci-fi world of Forbidden Planet.
Craig Barron talked about and showed video of how animated effects created by Disney animator Joshua Meador helped to create the "id monster" that was interwoven with filmed scenes so effectively in Forbidden Planet. [You can see more at the AMPAS "Mysteries of the Krell" presentation that Barron & Burtt gave last year- http://www.oscars.org/events-exhibitions/events/2011/07/forbidden-planet.html.
The outro was about Robbie and the material he was made out of. They've seen Robbie and reported back that he is alive and well in Los Angeles and occasionally comes out for film events.
The intro for *Gunga Din* had the color home movie footage and the rope bridge discussion that I noted below.
The outro was the discussion about the gun shots and recreating them for *Raiders*. A longer recap I wrote of their presentation on *Gunga Din* at the Academy a few years ago can be found here:
http://forums.tcm.com/thread.jspa?messageID=8257081
The intro to *Robin Hood* was about the sound of the arrows. Here's a recap of the event they did at the Academy about four years ago:
http://www.editorsguild.com/v2/magazine/archives/exclusive/exclusive_060708.htm
The outro was about the matte painting of the castle and that it got cut up. Leith Adams, the head of the WB archives on the lot, got a phone call alerting him to the existence of a piece of the matte painting and it is now in the WB archive. At least that's the impression I got.
The intro to *Kane* was about Linwood Dunn and how Welles used visual effects to help effectively tell the story.
Hope that helps.
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Chief,
Stock music libraries usually come in two flavors- you pay a yearly fee for the rights to use a certain number of music cues as many times as you like or you buy a stock music library outright and can use the music cues as often or as little as you want. Going this route, you have the option of buying additional discs of music cues as needed.
If my old memory serves me right, there is a post from a TCM staffer back in the archives that was posted in response to a similar question as the OP here posted. The answer was that the *TCM Remembers* tributes that are done for those who have recently passed away, the music is from a stock music library that TCM has.
The end-of-the-year longer *TCM Remembers/In Memoriam* that looks back at those who passed away over the last year, uses contemporary songs and TCM purchases the rights to use those songs.
TCM does occasionally pay to use popular music cues for other promotions they do- the last one I can think of was the song, Paris ( Ooh La La ) by Grace Potter and the Nocturnals, that was used to promote Jean Harlow's turn as Star of the Month.
The clearance fee for that song may have been shared with TNT as they were using the song at roughly the same time to promote their dramatic series, *Rizzoli and Isles*.
Edited by: lzcutter for clarification
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> And maybe 'lzcutter' can give a recap of the discussions. She DVR'ed some of last night's intros/outros so she can post more of the details that I have already started to forget.
Unfortunately, I only DVR'd *Citizen Kane* and haven't seen the outro for that one yet. I'll try to write a recap this evening if I can remember details for each of the screenings.
> (Like the name of the RKO Special Effects Specialist that created the Optical Printer and how that was used for effects in Citizen Kane.)
That's Linwood Dunn, (they had a picture of him with his optical printer). The Academy has a theater at their Pickford Center in Hollywood named after him.
> They represented the Academy well and burnished TCM's already high stature for many viewers.
I'm looking forward to the next one! It was a terrific evening. It would be great if there was a way to make the intros and outros accessible either in the Media Room or as a Podcast. Don't know if it can be done but thought it was worth suggesting!
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> And Mr. Barron is forgiven for keeping the mystery of Robby The Robot alive for future viewers.
I'm just very happy to hear that Robby still resides in the City of Angels and occasionally comes out for film events!
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I thought the intro to *Gunga Din* was terrific. Burtt and Barron brought not only a couple of clips of the color home movies that George Stevens, Cary Grant and Doug, Jr took while filming on location in Lone Pine, but they also had a RKO "trick photography" book and showed how one of the matte paintings (for the craggy mountainside on the far side of the rope bridge and the water far below) was done.
The anchors that moor the rope bridge (it was built only a few feet from the sand below) still exist according to Barron and Burtt and can be seen by visiting the location. (Be sure to stop by the Lone Pine Museum along the way).
Barron also talked about the Academy has a collection of such footage from other films in their larger collection.
For the outro, they will be talking about the sound in the film.
While it will be an abbreviated version of the talk they gave at the Academy, there will likely be lots of cool info shared.
Don't miss it!
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I just wanted to post to say how much I am enjoying Ben Burtt and Craig Barron with Robert O this evening.
I had the pleasure of seeing them give a presentation on *Gunga Din* at the Academy a few years ago and it was terrific!
And now, here they are with Robert O talking about various aspects of the making of *Forbidden Planet*, *Gunga Din*, *The Adventures of Robin Hood* and *Citizen Kane*.
For those who have always wanted more depth and behind-the scenes talk in the intros and outros of films, I hope you are watching TCM (or DVRing) tonight because even if you have seen the films before, it's an opportunity to hear these guys who love classic movies share their knowledge and stories on the making of these films.
I'm thrilled to hear that there will be more similar presentations from Academy "specialists" in our future courtesy of TCM.
Should be fun!
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> And I know lzcutter will chastise me if I forget to mention that each film had a chapter of the 1939 serial, Buck Rogers.
BUDDY!!!!!!!!!!!!
Thanks for making me smile, filmlover!
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I think you are thinking of *Sullivan's Travels* with Joel McCrea and Veronica Lake.
McCrea plays a film director (not a reporter) who hits the road to learn more about the common man/average joe during the Depression so that he can be a better director.
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Galdorothy,
Check this thread:
http://forums.tcm.com/thread.jspa?threadID=165513&tstart=0
for an explanation from our WebAdmin as to the problem with the CFU.
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> X-( Nothing has changed. I still can't get into the site. Are they even trying to fix this?
Jeffrey,
Yes, according to a post that Michael made earlier today in the Tech section, the third party, KickApps, has been made aware of the problem and they are trying to resolve the issue.
TCM HD
in General Discussions
Posted
> Which channels are currently up-converted and not true HD?
Last time I checked, TNT, TBS, AMC, Cartoon Network were among those upconverting.
I don't know if History and A&E have gone "true" HD but they were upconverting.
And many of the smaller, niche channels upconvert as well.