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Post by TheGoodMan19 on Apr 17, 2020 0:04:05 GMT
The London Scottish Regiment served in Flanders in WWI. on the roster was Ronald Colman, Herbert Marshall, Basil Rathbone and Claude Rains. They could have put on a decent company play.
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Post by twothousandonemark on Apr 17, 2020 4:33:37 GMT
Gattaca was nearly titled The Eighth Day, until a Belgian film of the same title was released just prior. Gattaca is such a great title for such an awesome film.
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Post by Prime etc. on Apr 18, 2020 8:19:54 GMT
Barrymore drank heavily during the production of the film (THE SEA BEAST), and his eyes were constantly bloodshot, with stubble on his chin. Producer Jack L. Warner said "that's a great makeup job" to director Millard Webb, who retorted, "That's not makeup. It's a hangover".
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Post by BATouttaheck on Apr 30, 2020 23:55:18 GMT
AlumnI of New Trier Township High School East, Winnetka, Illinois, Charlton Heston, Ralph Bellamy, Rock Hudson, Hugh O'Brien, Ann-Margret, Bruce Dern, Penelope Milford, Virginia Madsen and Liz Phair.
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Post by Prime etc. on May 5, 2020 1:34:12 GMT
Richard Matheson said Peter Lorre told him he used to drive Sydney Greenstreet insane by his ad-libbing since Greenstreet was classical trained and followed script dialogue exactly.
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Post by Prime etc. on May 6, 2020 6:43:11 GMT
LQ Jones said Sam Peckinpah was abusive to everyone--"if he was alive today he would be committed, sad but true, because he had so many boogers, because he picked on anybody, Bill Holden, biggest man in our business, Chuck Heston, didn't make any difference, treated them like they were trash...we got along fine because the second picture I did with him,..I told him "Peckinpah, you ain't got enough talent to direct me to the Men's room." Everything came to a halt for about three or four minutes while he decided what bus I was going to be on....but that's the way you had to deal with Sam. If you didn't, Heston almost killed him. And he told us, there's a scene in Major Dundee where he's sitting on a horse and he's got his sabre out, and Sam was riding him so hard, you can see it on film, he damn near cut Peckinpah in two. That's just the way he was. Sam was an ass."
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Post by mikef6 on May 8, 2020 16:22:43 GMT
Laurence Olivier’s U.S. stage debut was as the male ingénue in a lame mystery thriller called “Murder On The Second Floor.” It ran for only 45 performances on Broadway in 1929. The play was movie-ized twice, both times by Warner Bros-First National. It appeared under it’s play title in 1932 with Sir Larry’s character acted by John Longdon and again in 1941 as “Shadows On The Stairs” with Bruce Lester as the lead. I am not familiar with either of these actors. Not a very auspicious start in America for the future World’s Greatest Actor, but, hey, he was only 22-years-old and everybody’s got to start somewhere. He may have looked something like this at the time
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Post by divtal on May 8, 2020 18:15:01 GMT
I've mentioned this, before. But, as Doghouse6 said, it's nice to have a dedicated thread.
The Candidate (1972), directed by Michael Ritchie and starring Robert Redford:
Redford's character, Bill McKay, was running for the US Senate, from California, so several scenes were shot in San Francisco. Ritchie made good use of the locals for crowd scenes.
-- For a ticker-tape parade, he waited until noon on New Year's Eve, and set up filming on Montgomery Street, the center of the "financial district." This was at a time when workers threw all of the pages of their desk calendars for the old year out the windows. And, most offices let employees go at noon, to prepare for celebration. He put a sign on one side of a convertible that read: "Bill McKay for Senate!" On the other side, a sign read: "Come shake hands with Robert Redford!" He also had people circulating through the crowd on the "McKay" side of the car, to tell them what was going on.
He put Redford on the back ledge of the car, and began filming when the pages were floating down, and the streets filled with home-bound office workers.
-- For two election night scenes, with candidates addressing their assembled supporters, he used the city's Film Commission to contact all of the offices of politicians, on all levels. He asked them to contact their roster of campaign volunteers, and the many political organizations to contact their members. A large crowd showed up at the St. Francis Hotel, TO BE IN A MOVIE!
He shot one scene of a victorious candidate, with the crowd cheering him on. Then rotated the crowd from front-to-back, for fresh faces, and shot the concession speech of the other candidate, and his crestfallen supporters.
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Post by Prime etc. on May 8, 2020 18:33:04 GMT
On filming Darker Than Amber's fight scene between Rod Taylor and William Smith:
"In this scene no stuntmen were used because of the small room. According to Rod Taylor (5' 7") Will Smith (6'2", 200 lbs, Austrian boxing record 31W-1L, body builder & two time world champion arm-wrestler) forgot the routine and belted Rod, causing blood to splat everywhere. Rod wiped his face and shouted "KEEP THE CAMERAS ROLLING!" and the rest of the fight was adlibbed. Rod ended up breaking three of Smith's ribs (Those pounding body shots at 0.48] and Smith broke Ron's nose. Smith (a veteran of numerous punch-ups) called it "the best fight scene I ever worked on." (Rod Taylor. An Aussie in Hollywood. Vagg, S. Bear Manor Media 2010 )
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Post by Doghouse6 on May 8, 2020 21:35:28 GMT
I've mentioned this, before. But, as Doghouse6 said, it's nice to have a dedicated thread. The Candidate (1972), directed by Michael Ritchie and starring Robert Redford: Redford's character, Bill McKay, was running for the US Senate, from California, so several scenes were shot in San Francisco. Ritchie made good use of the locals for crowd scenes. -- For a ticker-tape parade, he waited until noon on New Year's Eve, and set up filming on Montgomery Street, the center of the "financial district." This was at a time when workers threw all of the pages of their desk calendars for the old year out the windows. And, most offices let employees go at noon, to prepare for celebration. He put a sign on one side of a convertible that read: "Bill McKay for Senate!" On the other side, a sign read: "Come shake hands with Robert Redford!" He also had people circulating through the crowd on the "McKay" side of the car, to tell them what was going on. He put Redford on the back ledge of the car, and began filming when the pages were floating down, and the streets filled with home-bound office workers. -- For two election night scenes, with candidates addressing their assembled supporters, he used the city's Film Commission to contact all of the offices of politicians, on all levels. He asked them to contact their roster of campaign volunteers, and the many political organizations to contact their members. A large crowd showed up at the St. Francis Hotel, TO BE IN A MOVIE!He shot one scene of a victorious candidate, with the crowd cheering him on. The rotated the crowd from front-to-back, for fresh faces, and shot the concession speech of the other candidate, and his crestfallen supporters. I'm glad you've mentioned these again, because I somehow missed them first time around, and they're just the sorts of things I love. The final item about rotating the crowd of extras, for instance, emphasizes something film makers once needed, but which I fear is becoming obsolete in the 21st century: ingenuity. When you've got enough softwear artists with enough processor power to put anything imaginable on screen without ever leaving their chairs, the inventive problem-solving involved in arranging something a director and DP can point a camera at and photograph is lost. And with it, a sense of palpable connection between image and viewer. When all that's required is mouse drags, clicks and keystrokes, and what audiences see is only bits, bytes and megapixels, the results, however dazzling to the eye, are simply not as viscerally compelling.
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Post by BATouttaheck on May 31, 2020 2:19:29 GMT
Soylent Green:
"The pencils that Thorn gives Sol are Palomino Blackwings, distinguished by the gold colored flat eraser end. These are highly sought after high-grade pencils. Notable users of Blackwings include: writer John Steinbeck, animator Chuck Jones, author Truman Capote, composer Johnny Mercer, composer Quincy Jones, author E.B. White, and animator Don Bluth."
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Post by sostie on Jun 1, 2020 19:46:11 GMT
There are two Stars for Harrison Ford on the Hollywood Walk Of Fame...one for the Indy actor and one for a silent movie star of he same name
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Post by BATouttaheck on Jun 20, 2020 3:04:08 GMT
GWTW The character of Ashley Wilkes was based on Margaret Mitchell's cousin by marriage John "Doc" Holliday. Melanie was based on Mitchell's third cousin, and Doc's first cousin and close friend, Mattie "Sister Melanie" Holliday. Doc moved West and became the gambler and gunfighter of "Gunfight at the OK Corral" fame. Mattie joined a convent and became a nun, but maintained a correspondence with Doc, who died of tuberculosis in 1887, 13 years before Margaret Mitchell was born. victoriawilcoxbooks.com/my-story/
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Post by BATouttaheck on Jul 16, 2020 18:37:13 GMT
THIS was on the Bob Barker IMDb page .... Reason and connection unknown
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Post by Doghouse6 on Jul 16, 2020 19:59:07 GMT
THIS was on the Bob Barker IMDb page .... Reason and connection unknown Sounds like an oblique way of saying, "This guy's as old as dirt."
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Post by millar70 on Jul 17, 2020 1:46:00 GMT
A couple of cool ones from Rosemary's Baby, both of which were done to get an uncomfortable response from Mia Farrow...
In the scene where she's in the phone booth, a weird looking old man walks up to the booth and gives Rosemary the willies. That was totally unscripted, but Polanski loved Mia's reaction, so the shot was kept in.
In the scene where Rosemary is on the phone with the actor who went blind because of the witches, Polanski asked Tony Curtis to be on the phone talking to Rosemary, without telling Mia Farrow. You can totally see the confusion on her face as she's talking to a familiar voice that she can't quite figure out. That's brilliant filmmaking right there.
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Post by BATouttaheck on Jul 17, 2020 22:20:53 GMT
Okay, this probably belongs on another board, nope .. you got the address right ! Cool story ! Thanks for sharing !
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Post by Doghouse6 on Jul 18, 2020 0:09:18 GMT
A couple of cool ones from Rosemary's Baby, both of which were done to get an uncomfortable response from Mia Farrow... In the scene where she's in the phone booth, a weird looking old man walks up to the booth and gives Rosemary the willies. That was totally unscripted, but Polanski loved Mia's reaction, so the shot was kept in. This sounds like a bit of promotional Hollywood myth-making. In the scene, a desperate Rosemary has been trying to contact Dr. Hill, and just before she's about to leave the phone booth, a man who looks like Dr. Saperstein appears just outside, with his back to her. As she recognizes him and registers alarm and dread, he steps away, and a moment later reappears, this time turning around to reveal himself as someone else who just happens to resemble Saperstein from the back. What actually happened on the set was this: actor Ralph Bellamy, playing Saperstein, stepped into the shot with his back to the camera, stepped out of the shot, and was then replaced by the film's producer William Castle, who turned to reveal his benignly smiling face. What the camera doesn't show are the dozens of crew members and production personnel, camera, sound and electrical equipment, rent-a-cops keeping spectators and passersby out of the shot, and the other two players - Bellamy and Castle - required for the scene, all just out of camera range, and all of which would have been plainly visible to Farrow. From on-the-set footage in the promotional documentary below, Castle can be seen at about 1:30 standing outside the booth, watching Farrow play her scene and awaiting his cue, beyond the view of Polanski's camera setup but clearly visible to her. At just that point in the doc, Polanaski happens to be heard saying, "I let actors rehearse, I never tell them where should they go or what should they do in this scene. I let them do it first, and usually, what they do instinctively is the right thing." And yet, the doc shows numerous instances of Polanski physically guiding players through a rehearsal, acting out their parts for them and even precisely placing their hands exactly where he wants them. The man knew what he wanted and how to get it. It's not my intention to be a party pooper destroying the fun of colorful film making anecdotes (which should always be considered with a healthy measure of skepticism), because the actual mechanics of putting memorable images on film which endure and continue to stir emotions decades after they were crafted can be every bit as fun.
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Post by Lebowskidoo 🦞 on Aug 3, 2020 20:17:24 GMT
James Stacy, who was played by Timothy Olyphant in Once Upon a Time...In Hollywood, lost both an arm and a leg in a motorcycle crash in 1973. He plead no contest to child molestation in 1995, and later attempted suicide by leaping from a cliff. He went to prison for six years. He was married to both Connie Stevens and Kim Darby. This guy is practically screaming out for a bio-pic!
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Post by mikef6 on Aug 4, 2020 18:29:27 GMT
A Perry Mason twofer: Erle Stanley Gardner, author of the Perry Mason novels, made his only appearance in the classic Perry Mason series in the very last episode of the last season (as the Judge), appropriately titled "The Case of the Final Fade-Out” (Season 9 Episode 30. May 2, 1966). I’m not sure if the actual final fade-out of the series is rueful or playful, probably the latter: Perry, Della, and Paul are going over the notes for their next case. Raymond Burr originally tested for the role of perennial loser D.A. Hamilton Burger. Other actors considered for Mason were William Hopper (who got the role of P.I. Paul Drake), Richard Carlson, Fred MacMurray, and Efrem Zimbalist, Jr.
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