lzcutter
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Posts posted by lzcutter
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> Quick Question: Why was the love theme from Vertigo used in that one sequence in The Artist ? I don't have too much against that, but was there a specific reason other than shining light on people like Hitchcock and Hermann?
A common procedure in films is to score the film with a temp score while the real score is being written. The love theme was used in this instance as part of the temp score for *The Artist*
From the composer of the score:
One such losing battle was the cue 'My Suicide', written to accompany the climax of the film in which George hits rock bottom. The final cut of the film was finished three weeks prior to the last recording date during the first week of April, as Bource was still trying to finish the cue.
"But because the priority was to finish everything for Cannes (in May), Michel needed to present (the finished film) to the producers as soon as possible to reassure them of a project difficult to sell without music". The climactic scene had been temped with Herrmann's love theme from Vertigo for three months, "and every composer knows what that means," says Bource. "Generally, you are condemned."
"Vertigo remains in the final cut of the film, but Bource insists Michel didn't replace 'My Suicide' with Herrmann's love theme. When the DVD comes out, you can put my music on that sequence. Bource completed the cue on Hazanavicius birthday and dedicated it to him, "but we didn't speak to each other during the last month. Why? Everything is in the title," he adds, winking.
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> Nothing at all against TCM, but wouldn't one think they would make sure long before the airing that everything was in place for the broadcast to happen and prevent issues like this from arising?
I believe TopBilled who started this thread indicated that the listing came from one of the early schedules that a couple of posters have been digging behind the scenes to find and post the last few months and not from the final, TCM released schedule.
If that's so, as Michael, the WebAdmin reminds us, that those early schedules shouldn't be considered written in stone but more the works in progress they are.
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> And your decision, TCM, was made because?..
Likely because last minute rights issues reared their ugly head or a digital print was promised by the studio/distributor but couldn't be delivered.
Those are the two main reasons a film gets pulled from the schedule.
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*Back to the Future*
*Ran*
*Brazil*
*Cocoon*
*Out of Africa*
*Witness*
*Mask*
*Ladyhawke*
*Silverado*
*Prizzi's Honor*
*The Sure Thing*
*Kiss of the Spider Woman*
*Sweet Dreams*
*Into the Night*
*The Trip to Bountiful*
*Insignificance*
are some of the movies I enjoyed on the big screen in 1985.
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> I am also thinking of doing a take-off on his career by scheduling his movie and then following it with the movie which was virtually identical and yet gained commercial success.
I can't wait to see your schedule, Sansfin!
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Possumdog,
Unfortunately, no TCM does not have a streaming service. This is likely because of the contracts with the various studios/distributors from whom TCM rents the films they broadcast and the cost of setting up a streaming service which is not cheap.
Perhaps in the future, TCM might be able to stream its content but probably not in the foreseeable future.
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> But I do wonder why so few of these threads are about movies,
MsW,
If I was to hazard a guess it's because complaining about modern films and actors, TCM's schedule, the lack of some films on the channel, complaining about political views and and post-1960 films on the channel take up more of the discussion than anything else.
At least that's what it seems like.
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> Will any think less of a schedule which honors such a recent actor?
Not me. I love films, actors, directors, etc from all decades and believe that some modern films are just as good as the classics. I tend to be in the minority among the greater TCM City community but I would hope that those who participate in the Challenges and in the voting would be a bit more open-minded about modern films, especially if the overall schedule being presented is worthy of consideration.
And all schedules submitted to the Challenge are worthy of consideration in my eyes.
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> It would be great to see Robert interview either of these great child stars.
James,
Robert did a *Private Screenings* with a group of child stars a few years back and Margaret O'Brien was one of the interviewees.
TCM reruns this one from time to time.
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> Okay, so you decided to pick one comment that former President Reagan said about something he may have not participated in.
Rey,
I'm don't want to argue politics with you but I do find Reagan's remarks disingenuous. He didn't help liberate the camps and for him to imply that he did is a disservice to those servicemen who did. Many of those servicemen who helped liberate the camps were haunted by what they saw in the camps and what they saw changed many of them. Case in point, director George Stevens. He and his men helped liberate the camps and as his son, George Stevens, Jr, recounts that story in the documentary he made of his father's service during the War, it forever changed his father, his outlook on life and the types of films his father made when he returned from the war.
I have no doubt that Reagan was touched by the inhumanity he saw in the film footage that came back from the War. But there is a difference from seeing something in real time and witnessing that horror in real time and watching film footage of that inhumanity. Film has a way of detaching us from the real life horror that being there in real time just can't do.
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Every year the *31 Days* month has a theme to it and that theme usually helps dictate which films are scheduled.
*The Best Years of Our Lives* runs on TCM fairly regularly so even if it's not part of the February schedule, it's likely to be on the schedule in the months ahead.
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> CODE OF THE SECRET SERVICE (1939) with Roselia Towne
> SECRET SERVICE OF THE AIR (1939) with John Litel
> SMASHING THE MONEY RING (1939) with Margot Stevenson
> MURDER IN THE AIR (1940) with John Litel
All four films were shown in 2009 when Ronald Reagan was SOTM.
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Joe,
The bad news on a al carte is that cable/satellite bills would be much higher than they are now.
There's an article that Kyle found and posted a while back and is now in the message boards archives that explains the why of that much better than I can.
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Re the advertising vs commercials debate:
TCM doesn't have mainstream commercials between movies and I don't think many here would be happy with seeing them on the channel.
I don't have a problem with their level of advertising of classic DVDs, books, cds, cultural events, even the occasional modern movie tie-in as it all revolves around classic films.
Do I want to see mainstream commercials on TCM, even between films? No. That would be massive change for the channel and were that ever to happen would probably signal other significant changes as well.
But, it's all blue sky debating because after almost twenty years on the air, TCM is still the home for showcasing movies from all decades and doing so in an uncut and commercial free enviroment. And there aren't too many channels that still adhere to their original programming concept these days. (Think of A&E, Bravo, History, etc).
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Barb,
You and Rod could celebrate his birthday by renting a piece of Rudy's Beverly Hills home aka Falcon Lair:
http://www.zillow.com/blog/2012-01-09/rent-a-piece-of-rudy-valentinos-former-beverly-hills-estate/
Oh-la-la!!!
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> Special new prize for the winner: if you're at the film festival this April, I'll buy you a drink at Club TCM. Hm, do you suppose that will encourage certain people to enter the competition this time?
It is a very tempting offer, King......
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> my concern is that it's not a crack in the armor & that soon we WILL see commercials just like every other channel
Monty,
As noted below by various posters, this type of advertising is not new to TCM. They have done it before going back more than a few years. The "Movie News" interstitial gets updated every month and is filled with plugs for upcoming books, cds, movies, dvds and cultural events. It helps the channel bring in revenue and that, in turn, helps keep mainstream commercials off of TCM.
And "Movie News" has been running every month on TCM for years and there's still no sign of McDonalds or any other mainstram commercials that appear on other networks.
So, it's a bit of a leap to think that the promo for *Tinker, Tailor* is going to be the catalyst for mainstream advertising to begin airing on TCM.
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Cee,
This type of advertising isn't new to TCM. They did a similar tie-in a few years ago with *The Good German* and another tie-in with a movie last year (I can't remember the name).
It happens infrequently and shouldn't be taken as a sign of things to come or that TCM is changing. Though, it can be a bit jarring to see the first time.
The two previous film tie-ins I mentioned, like this latest one, were done around similar classic genre films and not stand alone typical television promos that you see on other channels.
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The case isn't closed but it's not looking good for any surprises or new information.
Basically the Sheriff's Department is saying they haven't found any new evidence to dispute the original coroner's finding of an accident:
From the LA Times:
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> Actually, from the UNIVERSAL press releases that I have read, these restorations will be offered on blu-ray and be available for sale in retail stores, not via MOD.
Sorry if you took what I wrote about the restorations to mean they were only going to be released via MOD. That's not what I meant.
What I said was that Universal has announced that it will be *offering films from their library via MOD.*
I didn't say or mean to imply that the films they are restoring were only being offered via MOD.
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> Your post implies that TCM loses money every year but that Times-Warner keeps in going because of the prestige.
I didn't mean to imply that TCM loses money every year. I was trying to emphasis that Time-Warner believes in the channel enough to keep from changing it's format.
TCM has been part of the Time-Warner family for over a decade now and in all that time, Time-Warner seems happy to let TCM be TCM.
> You say the brand is very strong? What does that really mean? Since TCM doesn't participate in the rating process how does one 'measure' how strong their brand is?
They seem to have strong brand recognition. Even people who don't watch the channel regularly seem to know what TCM is about. According to their press releases, they are in over 85 million homes. People travel from around the world and around the country to attend their Film Festival in Hollywood. So, even though TCM overseas is a horse of a very different color than the one here in the States (and Canada), people every where associate it with classic films.
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> how does Turner do it? Does he earn so much from his other holdings that he can pay for this
Mimi,
Ted Turner started TCM back in 1994 and it was part of his media empire. However, by the mid to late 1990s, he merged his media empire with Time-Warner. As part of that merger, TCM (as well as the other Turner channels) came under the ownership of Time-Warner where they have remained ever since.
As to how the channel survives in this market, its brand is not only very strong but prestigious. The channel won the national Peabody award a few years ago for being the channel that has stayed true to its original mission. Which in this day and age of media conglomerates buying cable networks and then changing them drastically from what they once were (A&E, Bravo, History Channel to name a few), Time-Warner must feel that TCM is worth keeping as it is.
For that, we should all be very thankful!
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> So again, my question is why isn't TCM howling mad about this?
As others have noted, there isn't much, if anything, TCM can do about Comcast moving the channel to another tier. Comcast has been doing this in various areas of the country for the last five years, at least.
There are threads about it in the message boards archives. It started with the move to digital and has been happening ever since.
Unlike some providers, Comcast keeps moving TCM further up the digital preferred platform. In San Francisco, it has been part of the preferred platform for at least two years, if not longer.
As to why TCM isn't howling, in the message board archives there are posts from TCMProgrammr (who actually works for TCM) in response to this issue. The jist is that TCM has no control over which tier a cable or satellite provider puts them. They also have no leverage when a company like Comcast places them in a higher, more expensive tier.
We have also heard this explained at the *Meet the TCM Staff* panel discussions that are held during the TCM Film Festivals.
You might want to check out DirecTV or Dish to see if they offer a better rate and plan for your viewing needs.
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Universal has announced that it will be offering films from their library via MOD. (Much like the Warner Archive).
> Universal needs to explore it's options. They can give or donate some of these properties to a not for profit archive. (Tax write off) A non-profit can raise donation money towards restoration. I still think they should also consider selling the collection piecmeal to interested and qualified parties.
The problem with that is that non-profits aren't in a position to take over the costs of digitizing and releasing DVDs. Due to the economy, many non-profits are struggling with donations to cover costs for works they are already doing.
The Film Foundation works with the various studios to help with underwriting restorations. But even with Marty Scorsese out there talking on their behalf and reminding us all how important our cinematic heritage is, the Foundation isn't exactly rolling in dough. Kevin Brownlow, perhaps the preeminent archivist of our time, struggles to raise money to restore films via Photoplay. Each year, non-profits such as UCLA Film Archives and George Eastman House must make choices of which films from their holdings they can restore because there isn't money enough to restore them all.
Whether its just digitizing films and making them available via MOD or restoring films for the future, it all costs money and as Kevin Brownlow and David Shepard have stated publicly, classic films, especially silents and early talkies, are a very niche market.
That doesn't mean it shouldn't be done but until we as a society value our cinematic heritage, films will languish on the shelf whether they are in studio vaults or non-profits.
RAMBLES Part II
in Films and Filmmakers
Posted
It's the 18th in New York City so we all know who's celebrating a birthday:
*CineMaven* !!!!!!!
Happy Birthday, Theresa!!!!!
And to help you celebrate:
Hope you have a wonderful day!!!!