lzcutter
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Posts posted by lzcutter
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> Are these sit-down interviews with RO edited before showing?
Yep. There may be problems with the camera, with the mics, she may stumble over words and ask for a retake, Robert O may swallow words when he talks and ask for a retake.
Someone may misspeak, catch themselves, and ask for retake. They may have to change the lighting, break while Robert O or the interviewee takes a sip of water because their throat got dry.
Any myriad of reasons for retakes and the interviews are usually longer and cover more topics and that all adds to why they are edited.
The unedited versions of many of the previous *Private Screenings* are available via podcasts here on the website.
> Maybe she's concerned about the direction the interview might take and that she might make responses that she would later regret.
She shouldn't be. Anyone who has watched previous *Private Screenings* can tell the care that goes into making an interviewee feel comfortable.
Considering the number of stars who have sat down with Robert O over the years and talked about their careers and their choices in life, the crew (and the editors) are very cognizant of making an interviewee feel comfortable. Witness Robert O's wonderful interview with Betty Hutton.
I doubt anyone at TCM would intentionally embarrass an interviewee nor would they intentionally edit an interview to show the interviewee in a bad light.
They aren't TMZ, they are TCM and they respect the people who graciously agree to be interviewed.
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Chief,
I totally agree, it was worth the wait!
I am thrilled that *Wings* will now have not only A.C. Lyles introducing the film but now the dreamy Bill Wellman has been added to the mix!
See me smile, big time!!!!!
The Academy's presentations in Club TCM, especially the Home Movies presentation on Saturday evening, cool!!!
*Frankenstein* with John Carpenter introducing, I'm a big fan of Carpenter's especially since his first Festival two years ago.
"It's Chinatown, Jake" vs. "He was MY boyfriend!"
As much as I love *Chinatown* (being the City of Angels girl I am), the opportunity to see *Young Frankenstein* on film on the big screen at the Egyptian- I've seen both on the big screen more than once- but I think *YF* gets the nod here.
Walter Mirisch introducing his first film, *Fall Guy*, I adore this guy and can't wait to see him and hear him talk about his career in person!
*Hollywood Home Movies* from the Academy sounds great!
And I am curious to see what the half hour 18th birthday party for TCM is all about.
*A Night to Remember* on the night the great ship sank, WOW!
*How the West Was Won* in true Cinerama on the screen at the Dome, you know where to find me on Sunday morning!
And everyone will get to enjoy Doug, Sr in one of his best films (with beautiful set decoration by William Cameron Menzies) on the big screen at Grauman's with the Mont Alto Orchestra. Heaven!!!!
I wonder, will the Sinatra sisters, Tina and Nancy, be introducing *High Society* or maybe someone more regal?
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Finance,
I'm not saying she may not change her mind somewhere down the road and agree to appear on camera.
She may very well do that.
My response was to MovieProf who indicated that the hold-up in her appearing with Robert O was because TCM either had not asked her or they were unwilling to travel across the country.
For the record, she did an audio interview on the Today show not an on-camera interview.
So, as I said in my original post, the ball is in her court about this issue and it is her decision when and if she wants to appear on-camera.
Until then all TCM (and the rest of us) can do is ask and respect her decision when she declines the offers.
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Just wanted to bump this thread up for all those who have the time and desire to see historic Hollywood while at the Festival!
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Hello Fellow Festival goers!
Hard to believe that in less than three weeks we will all be in Hollywood about to begin a grand adventure courtesy of TCM. Here's some suggestions for all, especially newbies:
1) Stay hydrated. The Festival will be filled with lots of films, panels and, most of all, depending on your pass, standing in line. While the Festival is two weeks earlier this year, the weather may or may not be our friend.
But, either way (and especially if it is warm or hot) staying hydrated will help you enjoy the Festival to its fullest extent. Water is better choice, especially if it is warm/hot and you are standing in line during the day, than soda or alcohol.
2) Don't forget to eat. Many times Festival goers will forgo eating in hopes of getting a jump on the line. But, one way to have a bad experience at the Festival is to feel faint from lack of food.
3) Don't be afraid to ask the volunteers for information. If the last two years are any indication, the volunteer crew at th Chinese theater complex tends to have more accurate information than the crew at the Egyptian.
But, at any site, if you don't feel the information is accurate, don't hesitate to ask again. My husband and I did that last year prior to the screening of *The Cameraman* and discovered we had been given the wrong info by another volunteer. Because we asked, we got the right info and were able to get excellent seats.
4) Don't be afraid to talk to others standing in line with you. The Festival brings people from across the country and various countries together for four days. The first year I had a delightful conversation with a woman from Canada. Last year, I met a young man from Scotland. They are all there for the same reason you are, they love films and they love TCM. Share the love!
5) At every screening and every panel, you will be asked to please turn off your cell phone so as not to disrupt the film/panel and/or annoy the others in the audience.
Last year prior to the discussion with Kevin Brownlow, moderator Scott McGee asked the standing room only crowd at Club TCM to please do exactly that. About 3/4 of the way through Mr. Brownlow's presentation, a cell phone went off interrupting Mr. Brownlow's story.
The cell phone owner didn't turn off his phone, he tried to just ignore it. It kept ringing. When he finally answered the phone, instead of leaving Club TCM he went to a corner near the stage to *TAKE* the damn call. He finally realized the error of his ways and cut his conversation short, but not before interrupting one of the preeminent film historians of our time and annoying everyone else in the room.
Cell phones disrupted various screenings as well. We heard cell phones ring during the screenings of *Goldfinger*, *Spartacus* and *The Constant Nymph* and heard from others that cell phones were definitely a problem.
Also a problem, taking pictures of the screen during a screening. We're classic film fans, we're supposed to know better or at the very least, we should.
We are all there to experience the films we love on the big screen and to hear discussions with stars, directors, historians, etc that are literally often once in a lifetime experiences. Everyone's memories will be much rosier (and their blood pressure lower) without the cell phone/camera disruption.
The most important thing to remember (besides the cell phone reminder) is to have FUN!!!!
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> Since Doris doesn't get out much now, I say RO and the whole TCM crew should pack up the gear and head out to the home of Doris and get that long awaited interview the fans would love to see! Come on now Doris . . . Just make it one more for the fans, if not the road. Please!
It's not a failure of will on TCM's part. They would love to have Day agree to sit down with Robert O for an in-person interview and would likely be happy to travel to California to accommodate the actress.
But the fly in that ointment is Day, herself. She seems comfortable lately doing audio interviews and voice-overs but she still draws the line at appearing on camera.
And as always, posters continue to think that TCM is the one holding the much hoped for event from happening.
*But,* the ball is, as it always has been, in her court for that longed hoped for camera interview with Robert O.
And until she changes her mind, all the asking by fans and TCM won't change that reality.
Edited by: lzcutter on Mar 26, 2012 7:13 PM
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> I wonder why so little is being made of the pervasive horror that was the HUAC.
Probably because almost every time the subject is brought up on the message boards the threads inevitably get derailed, spiral down and end up being locked by the WebAdmin because of personal or political attacks.
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Lori,
I'm just a long time poster here but I think at this point it might be useful to PM Michael, the Web Admin for the message boards, and see if he can be of help in this matter.
His PM addy is TCMWebAdmin.
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Doctor,
The Fredric March version is tied up with rights issues. There's a post from the programming staff about it in the message board archives. They tried to get the film when March was SOTM but legal issues got in the way.
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Wrong thread, sorry
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> Maybe they could do a Hoffman, or one of those other great actors in MM
Sir Laurence Olivier and Roy Scheider have both passed away. So, that would leave Dustin Hoffman (who may have some extra time now that *Luck* has been cancelled), William Devane or Marthe Keller. Devane has been working on *Revenge* (tv series) and Keller seems to live and work mainly in Europe.
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It could be that the digital projector wasn't calibrated properly and that could account for the darkness issue.
The restoration is getting high marks all around for the clarity of picture and the black and white photography.
Digital projectors have issues just like their film counterparts and if the projectionist/theater staff isn't skilled at running them problems ensue.
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> And BTW when is Ida Lupino going to be given the SOTM treatment? Talk about forgotten actors, not to mention pioneering female directors. Maybe if she'd stuck around like Angela Lansbury or Doris Day she'd get her proper dues from TCM.
She did get SOTM treatment in June 2007. She's hardly forgotten by TCM as her films show up regularly.
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Any chance that this thread will get back on track before it spirals out of control and has to be locked?
If I was a betting woman.......
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Why not just set your recorder to record it?
That way, if it's the Garbo version, you'll be able to watch it and if it's the silent version (which it looks probable it is), you can erase it/delete it without hassle.
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> Maybe you can tell me why you like the movie.
FredC,
As I mentioned in an earlier post, I like the story and the dialog as well as the cinematography (especially the snow scene) and the music score.
Aunt Fanny is the instigator in the story with her staircase whisperings to Georgie. If Fanny hadn't been so jealous or hurt, she wouldn't have blown out of proportion the "talk" of Eugene and Isabel.
And with that conversation, she set in motion most of what follows and she comes to regret her role in what happened.
It is only after his mother's death that Georgie realizes the extent and impact of his role and comes to regret it.
I wish the final act had been stronger but I suspect that the cuts that were done to the film hampered the strength of the ending.
But, the bones of that final act are still there and while it may not have the impact that was originally there, it is certainly hinted at.
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Don't forget, when MCA bought Universal in 1958, they did so because they were involved in television production and the Universal backlot made a great place to shoot various television shows.
MCA had Revue Studios and used Revue for television production. By 1962, they had changed the name to Universal Television.
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> Call me stodgy and old-school , but when I see a hill and the ocean in a film, I want to know that what I'm seeing is a hill and the ocean !
MsW,
While there are films that overdose on CGI, we should all try to remember that their predecessors in film were matte artists who were very adept at creating beautiful matte paintings that made hills, mountains, oceans and much more possible for classic films.
There is a chance that you've seen matte paintings of hills and oceans (and much more) than you realize.
Two of the best at matte painting were Albert Whitlock and Peter Ellenshaw.
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> So you don't like The Magnificent Ambersons eh? Just SAY so.
I have no idea where you got the idea that I don't like *Magnificent Ambersons*. From my first (and subsequent) posts in this thread, I have talked about how much I like this film and that it is my favorite Welles film.
> Let's not get bogged down with a lot of speculative backstory that involves situations or decision making that can't really be proved or start trying to read between the lines of what may or may not have been said.
As for "speculative backstory" in my posts, I hardly consider what Robert Wise has said on the subject- of Welles and the film as well as the original cut print he sent to Welles in Rio- in interviews and in books to be speculative.
Nor do I consider what Scott Eyman wrote in his thoroughly researched bio of John Ford to be speculative.
But, as always, your mileage may vary.
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While I agree that Mirren, Dench and Redgrave deserve to be on this list, I don't agree that their US counterparts aren't talented enough to be in that same orbit.
Some that certainly due, in my opinion, of course:
Meryl Streep, Julianne Moore, Annette Bening, Michelle Williams, Charlize Theron, and from the other side of the pond, Kate Winslet.
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> I wonder why Welles was sent to Rio?
FredC,
Welles was approached by Nelson Rockfeller and the government to go to Brazil on a goodwill tour.
The government was concerned that South America would join Germany in the war. They also approached Walt Disney about doing a larger tour of South America. There is a documentary about the Disney goodwill tour called *El Grupo*.
According to Scott Eyman who wrote a great bio on John Ford, when Welles was trying to make the decision whether or not to go to Rio on the tour, he approached John Ford for advice. Ford told him he shouldn't trust the studio and should finish editing *Ambersons* before leaving the country.
Welles didn't take his advice.
Edited by: lzcutter because advice and advise are two different things.
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> But really, any UK actress is miles ahead of any U.S. actress. Then again, they TRAIN to do their JOB in the UK, they just don't make a movie, get overpaid, and become a STAR.
Meryl Streep trained to be an actress. After graduating Vassar, she went, like so many of her contemporaries, to the Yale School of Drama before continuing on to the stage.
Others went to Julliard or the American Conservatory Theater among other schools of training.
There is a big difference between actors, like Streep, that have long careers and the likes of Paris Hilton or the Kardashians who are famous for the sake of being famous or actresses like Megan Fox who are famous not so much for their talent as for their looks.
But the world has long celebrated beauty over talent since the beginning.
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According to Robert Wise, Welles sent word from Rio to cut 22 minutes out of the film. This was prior to the preview screening in Pomona and prior to RKO ordering Wise to cut the film further.
Wise sent a print of Welles original 132 minute cut to the director in Rio. Welles didn't bring the print back with him from Rio and according to records the film was not returned to the studio either.
The studio sent a cable to the studio that Welles was using in Rio and told them to destroy the film.
There seems to be no conclusive evidence that they followed those orders.
The original cut (prior to Welles' directed cuts and RKOs ordered cuts) is one of the holy grails of lost films.
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> It is just talk, talk, talk, just like Norma said, and the talk is not interesting.
Guess that's what makes us all different here and should make us aware of those differences.
This is my favorite Welles film, even more than *Citizen Kane*, cuts and all.
And all that talking, I love the language and the story and don't find it dull at all. I think Welles did a good job with the script, especially capturing a by-gone era.
And the performances are all terrific.
If Mr. Peabody really had a way-back machine, I'd stop Welles from going to South America.
MOVIES
in Information, Please!
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> THIS INCLUDES ONE FROM ON THE WATERFRONT AS THEY RUN DOWN THE ALLEY AND BREAK INTO A BUILDING TO SAFETY..
That sounds like *On the Waterfront* with Marlon Brando and Eva Marie Saint.
> ONE IS IN A COFFEE SHOW THE OTHER ONE A CAR IS PARKING AND A BRIDGE IN THE BACKGROUND.
That one sounds like *The Naked City*.