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Post by mattgarth on Apr 9, 2017 20:25:08 GMT
Two TV productions that became Feature Films with Glenn Ford:
'The Last Notch' / THE FASTEST GUN ALIVE
'Fateful Decision' / RANSOM!
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Post by mattgarth on Apr 9, 2017 21:39:18 GMT
Mine too, Spider. His TV appearance scene is one of the great 'all in one long unbroken unedited take' in films.
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Post by Matthew the Swordsman on Apr 9, 2017 23:11:05 GMT
How about theatrical feature films created by simply editing together some TV episodes? I made a thread about this on film general. Some examples: Fabian of the Yard (1954) - Made by editing together several episodes of the BBC TV series. It wasn't a bad series as far as I know, so I suspect the film wasn't too bad. Man Trouble (19??, not on IMDb) - Made by editing together four episodes of the 10-episode 1975 sitcom "Fay". I've seen a few bits of the series, and again suspect the film wasn't too bad. The Secret of the Sword (1985) - Consisted of the first five episodes of "She-Ra: Princess of Power". I'd rather watch these three "films" (if you can call them that) than any of the crap directed by Michael Bay. |
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Post by Matthew the Swordsman on Apr 10, 2017 1:17:23 GMT
Matthew the Swordsman Never heard of this concept, Wolf, but it sounds really interesting. And as for your last sentence: I could't agree more. Something I read, was that in one country, episodes of "Columbo" were released theatrically. Well, they were pretty much film-like to begin with, so not much of a stretch. |
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Post by hi224 on Apr 10, 2017 2:41:07 GMT
Mulholland Dr. Right? And it was restructured.
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Post by Richard Kimble on Apr 10, 2017 8:49:56 GMT
How about theatrical feature films created by simply editing together some TV episodes?
That should be a separate thread The Man From Uncle did this several iimes, "expanding" TV episodes for overseas release |
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Post by Richard Kimble on Apr 10, 2017 8:56:56 GMT
Mine too, Spider. His TV appearance scene is one of the great 'all in one long unbroken unedited take' in films. In The Undercover Man (1949, directed by Joseph Lewis) Ford and Nina Foch sit aganst a tree in one long take. This shot predates by a decade the more famous river scene w/Stewart and Widmark in Ford's Two Rode Together, which was allegedly the inspiration for Ben Johnson's speech scene in The Last Picture Show. |
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Post by Richard Kimble on Apr 10, 2017 9:04:11 GMT
I prefer the TV Marty. Borgnine is kinda bad off; Steiger rips your heart out.
I also prefer Palance in Requiem to the film's A. Quinn, although Gleason and Rooney are excellent support.
In some ways, I actually prefer Bob Cummings to Fonda in 12 Angry Men Fonda comes across as Mr Sure Of Himself from the get-go; Cummings seems uncertain if he's doing the right thing, although I don't know if that's b/c he gives a great performance, or if he can't remember his lines.
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Post by Richard Kimble on Apr 10, 2017 9:13:13 GMT
Two live TV plays by Gore Vidal, the originals of which are now lost:
"The Death Of Billy The Kid" w/ Paul Newman. Later filmed as The Left Handed Gun w/Newman, although it had originally been intended for James Dean.
"Visit To A Small Planet" w/ Cyril Ritchard. Shortly after broadcast Vidal adapted this into a Broadway play also starring Ritchard. This was bought by Hal Wallis who produced it as a vehicle for Jerry Lewis.
Like VTASP, No Time for Segeants was produced for live TV, then adapted into a Broadway play and finally a film version. Andy Griffith starred in all three productions. Fortunately the original TV version survives.
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Post by Dr. Miles Bennell on Apr 10, 2017 17:45:08 GMT
How about theatrical feature films created by simply editing together some TV episodes? I made a thread about this on film general.
Yeah. I think there were five "Superman" features released in England during the 50s, each made from 3 unrelated episodes of the TV series just spliced together. Over here, maybe up to 20 "Wild Bill Hickok" B-movies released by Monogram, then Allied Artists, made up of two episodes each from the Guy Madison-Andy Devine TV series. I'm even aware of one of these having some dialog references in the part made from the second episode that refers back to the first. This musta been a planned thing, to turn them into movies. You can sometimes find posters for these @ eBay. Also, 3-4 movies compiled from episodes of "Ramar of the Jungle" - some of these were from 3-episode "serial" stories, so had a single plot. Similar films were turned out for home rental in 16mm from "Rocky Jones, Space Ranger" 3-episode stories; later these turned around and became TV-movies. A couple of unsold TV series out there with a few episodes in the can which were eventually stuck together two at a time, one starring Hugh Beaumont as a private eye, another with Robert Clarke as Robin Hood. Yeah, lots of ingenuity out there, if not great film-making. Also don't forget cutting movie serials down into feature length and releasing them as "new" films or TV-movies. And hybrids - of footage cut from completed films and combined with new-shot footage to make a different "new" film - like GODZILLA, or FACE OF THE SCREAMING WEREWOLF. Caught my fancy here, you did. |
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Post by politicidal on Apr 10, 2017 17:51:32 GMT
Heat (1995) I think was originally a television movie.
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Post by Dr. Miles Bennell on Apr 10, 2017 18:06:14 GMT
And DUEL.
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Post by Dr. Miles Bennell on Apr 10, 2017 18:39:38 GMT
Sure. DUEL was originally a network prime-time made-for-TV movie. Produced by Universal Television and first shown on ABC in 1971, with re-runs. After Spielberg became a household name, a few years later, it was released theatrically by Universal Pictures.
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Post by petrolino on Apr 10, 2017 18:54:11 GMT
Heat (1995) I think was originally a television movie. I can't find any way to verify this in the imdb database, politicidal. Do you have a reference for me? 'Heat' evolved from Michael Mann's 'L.A. Takedown' (1989). |
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Post by telegonus on Apr 10, 2017 19:07:26 GMT
I'm not sure if these count but there were two TV shows of the Fifties that were "adapted" into feature films that were not edited together episodes of the shows but real motion pictures: Dragnet (1954) and The Line-Up (1957).
Now that I think about it I believe Our Miss Brooks was made into a movie as well, circa 1956. Then there was the "other way around" Girl On The Run, a 1958 motion picture that served as the pilot for the TV series 77 Sunset Strip.
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Post by Doghouse6 on Apr 10, 2017 19:27:53 GMT
Sure. DUEL was originally a network prime-time made-for-TV movie. Produced by Universal Television and first shown on ABC in 1971, with re-runs. After Spielberg became a household name, a few years later, it was released theatrically by Universal Pictures. It's been my understanding that Universal settled upon an overseas theatrical release shortly after its Nov '71 U.S. television airing, reassembling Spielberg and company in '72 to shoot additional scenes to extend its running time. It was this version that turned up in syndication for local stations later in the decade and, unaware of the alterations at the time, I recall watching it again and being surprised by that "new to me" footage. |
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Post by Richard Kimble on Apr 10, 2017 19:58:26 GMT
Then there was the "other way around" Girl On The Run, a 1958 motion picture that served as the pilot for the TV series 77 Sunset Strip. was made for TV. Jack Warner released it theatrically to screw Roy Huggins out of his creator's royalty. Wiki: At Warner Bros. Television, Huggins was repeatedly denied credit and compensation as the creator of several television programs. A Warner-owned property was used as the basis of the script for the first broadcast episode of Maverick, substituted for the actual pilot, which was run second to cheat Huggins out of his creator residuals. Perhaps most famously, Jack L. Warner deliberately had the pilot to 77 Sunset Strip screened briefly at movie theatres in the Caribbean to legally establish that the television series derived from a film, rather than, as was actually the case, several books and novellas Huggins had written in the 1940s. Since these were not the only occasions on which Warner had found a way to circumvent Huggins' creative rights, he left the studio soon thereafter. These experiences led him to demand increasing rights and ownership of all television concepts he authored. By the mid-1960s, he had distilled this demand into a boiler plate for all his contracts. "I was getting paid my royalty and my fee whether I did the show or not. If I conceived the show, and got it on the air, anyone could produce it and I would still get paid just as if I was doing it... That became known as 'the Huggins contract'. Every producer in television would say, 'I want the Huggins contract', and some of them got it." — Roy Huggins, interview with the Archive of American Television, July 21, 1998 He used the contract for his television series The Fugitive. It limited the rights of United Artists Television to his material. This permitted his participation in the 1993 film version of his creation decades later. |
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Post by Matthew the Swordsman on Apr 11, 2017 3:35:21 GMT
I know it's not what you are asking for, but a lot of old plays were adapted for TV before being adapted for film.
"Rope", for example, was broadcast live on BBC TV in both 1939 and 1947 before Mister Hitchcock made it a film.
Today I watched a 1939 film called "Inquest", a low-budget but good British film based on a play. Several months before the film came out, the BBC broadcast a live version of the play. Sadly, it is lost, as kinescope recording was not invented until 1947 (and the BBC didn't use it to record any drama until 1953).
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Post by them1ghtyhumph on Apr 11, 2017 6:43:00 GMT
Heat (1995) I think was originally a television movie. I can't find any way to verify this in the imdb database, politicidal. Do you have a reference for me? Crime Story (TV series) 1986-1988. Michael Mann wrote 8 episodes ****Sorry. Just saw the L.A. takedown reference |
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Post by telegonus on Apr 11, 2017 7:53:07 GMT
Then there was the "other way around" Girl On The Run, a 1958 motion picture that served as the pilot for the TV series 77 Sunset Strip. was made for TV. Jack Warner released it theatrically to screw Roy Huggins out of his creator's royalty. Wiki: At Warner Bros. Television, Huggins was repeatedly denied credit and compensation as the creator of several television programs. A Warner-owned property was used as the basis of the script for the first broadcast episode of Maverick, substituted for the actual pilot, which was run second to cheat Huggins out of his creator residuals. Perhaps most famously, Jack L. Warner deliberately had the pilot to 77 Sunset Strip screened briefly at movie theatres in the Caribbean to legally establish that the television series derived from a film, rather than, as was actually the case, several books and novellas Huggins had written in the 1940s. Since these were not the only occasions on which Warner had found a way to circumvent Huggins' creative rights, he left the studio soon thereafter. These experiences led him to demand increasing rights and ownership of all television concepts he authored. By the mid-1960s, he had distilled this demand into a boiler plate for all his contracts. "I was getting paid my royalty and my fee whether I did the show or not. If I conceived the show, and got it on the air, anyone could produce it and I would still get paid just as if I was doing it... That became known as 'the Huggins contract'. Every producer in television would say, 'I want the Huggins contract', and some of them got it." — Roy Huggins, interview with the Archive of American Television, July 21, 1998 He used the contract for his television series The Fugitive. It limited the rights of United Artists Television to his material. This permitted his participation in the 1993 film version of his creation decades later. Thanks for all that, RK. Good for Roy Huggins. His projects tended to be classy. I find it sort of odd that Huggins, who created The Fugitive, also created the similarly themed,--a man on the run due to a deadly disease rather than a crime he didn't commit-- Run For Your Life, two of the first three years of which it ran concurrently with The Fugitive but on a different network. RFYL is semi-forgotten now. I've never seen it in reruns. It deserves better. Its stories were more cerebral and overall more pensive than the more mainstream feeling The Fugitive. What probably hurts it somewhat as a popular favorite is that Ben Gazzara, very good actor that he was, had zero charisma and not much sex appeal. Women loved David Janssen, and he owned the screen. |
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