The 'Tapioca' dance in 'Thoroughly Modern Millie' (1967)
Oct 15, 2021 1:16:55 GMT
Catman, spiderwort, and 2 more like this
Post by petrolino on Oct 15, 2021 1:16:55 GMT
It's a masterpiece of music, camera, editing, mise-en-scene. Precision is key yet the craftsmanship is never unnecessarily fussy or overly fastidious, it's all in service of the cast's actions/
There'll never be another George Roy Hill.
'A Marine pilot in World War II and in the Korean War, an actor, a Yale graduate and a devotee of history and Bach, Mr. George Roy Hill combined scholarship and military training in his approach to his work, achieving success as a director on Broadway, in television and in films.
His career was often characterized by a nostalgia manifest not only in his subjects -- the roaring 20's, the Depression, World War I pilots, the sinking of the Titanic -- but also in his affection for the art of straightforward storytelling.
''Just as I play nothing but Bach for pleasure, so do I read nothing but history for pleasure,'' Mr. Hill said in a 1975 interview in The New York Times Magazine. ''I like to be able to sit back and pick out the most fascinating facets of an era. You have a better perspective. In the present, you get too caught up in the heat of the emotions of the moment.''
The interview was a rarity. In contrast to some of today's filmmakers, eager to hawk their wares from morning till late night on television, Mr. Hill was notably inaccessible. Some Hollywood figures thought him shy; others speculated that his reticence was rooted in his reluctance to add the costs of publicity to a film's budget. He had no interest in hiring press agents and appearing on talk shows.
''The world is slow to realize that George Roy Hill not only is a vastly talented storyteller on the screen -- but also cosmically cheap,'' Robert Redford, a close friend who starred in Mr. Hill's greatest hits, once said.
The gangly, boyish-looking Mr. Hill belonged to a generation of directors who made their mark in the so-called golden age of television in the 1950's. Like John Frankenheimer, Arthur Penn and Sidney Lumet, he gravitated to movies as the networks lost interest in serious drama, and Hollywood held out the promise of freedom from the hectic, stressful pace of television.
''Butch Cassidy'' (1969) starred Paul Newman and Robert Redford as good-natured bank robbers in the waning days of the Old West, and ''The Sting'' (1973) starred them as small-time con men who pull off a big-time swindle in Depression-era Chicago.
After the movies were released, Mr. Hill had for a while the distinction of being the sole director in history to have made two of the top 10 moneymaking films.
''Butch Cassidy and the Sundance Kid'' won Oscars for original screenplay (William Goldman), original score (Burt Bacharach), best song (''Raindrops Keep Fallin' on My Head,'' by Mr. Bacharach and Hal David) and cinematography (Conrad L. Hall).
Besides the Academy Awards for best film and best director, ''The Sting'' won five other Oscars, including those for best adapted screenplay, by David S. Ward, and best score, by Marvin Hamlisch, who adapted the ragtime music of Scott Joplin.'
His career was often characterized by a nostalgia manifest not only in his subjects -- the roaring 20's, the Depression, World War I pilots, the sinking of the Titanic -- but also in his affection for the art of straightforward storytelling.
''Just as I play nothing but Bach for pleasure, so do I read nothing but history for pleasure,'' Mr. Hill said in a 1975 interview in The New York Times Magazine. ''I like to be able to sit back and pick out the most fascinating facets of an era. You have a better perspective. In the present, you get too caught up in the heat of the emotions of the moment.''
The interview was a rarity. In contrast to some of today's filmmakers, eager to hawk their wares from morning till late night on television, Mr. Hill was notably inaccessible. Some Hollywood figures thought him shy; others speculated that his reticence was rooted in his reluctance to add the costs of publicity to a film's budget. He had no interest in hiring press agents and appearing on talk shows.
''The world is slow to realize that George Roy Hill not only is a vastly talented storyteller on the screen -- but also cosmically cheap,'' Robert Redford, a close friend who starred in Mr. Hill's greatest hits, once said.
The gangly, boyish-looking Mr. Hill belonged to a generation of directors who made their mark in the so-called golden age of television in the 1950's. Like John Frankenheimer, Arthur Penn and Sidney Lumet, he gravitated to movies as the networks lost interest in serious drama, and Hollywood held out the promise of freedom from the hectic, stressful pace of television.
''Butch Cassidy'' (1969) starred Paul Newman and Robert Redford as good-natured bank robbers in the waning days of the Old West, and ''The Sting'' (1973) starred them as small-time con men who pull off a big-time swindle in Depression-era Chicago.
After the movies were released, Mr. Hill had for a while the distinction of being the sole director in history to have made two of the top 10 moneymaking films.
''Butch Cassidy and the Sundance Kid'' won Oscars for original screenplay (William Goldman), original score (Burt Bacharach), best song (''Raindrops Keep Fallin' on My Head,'' by Mr. Bacharach and Hal David) and cinematography (Conrad L. Hall).
Besides the Academy Awards for best film and best director, ''The Sting'' won five other Oscars, including those for best adapted screenplay, by David S. Ward, and best score, by Marvin Hamlisch, who adapted the ragtime music of Scott Joplin.'
- The New York Times
Polaroid Ping Pong Pals : George Roy Hill, Paul Newman & Robert Redford
