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Post by pimpinainteasy on Oct 31, 2017 14:57:00 GMT
are their directors like that? who only vaguely know the language they are making the film in?
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Post by mattgarth on Oct 31, 2017 15:06:11 GMT
Michael Curtiz -- "Bring on the empty horses!"
Fritz Lang -- "We're shooting dis scene Mit Out Sound" 'MOS' became the standard terminology in the industry after that.
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Post by politicidal on Oct 31, 2017 15:57:00 GMT
Sergio Leone thought 'DUCK YOU SUCKER' was a common phrase in American slang so that's why he chose it for the 1971 film. I prefer the alternative title Fistful of Dynamite.
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Post by Nalkarj on Oct 31, 2017 17:04:27 GMT
In the spirit of the season, I'll provide this anecdote (which you may already know): a Spanish-language version of the '31 Dracula was filmed at night on the same sets, with Carlos Villarías (billed for some inexplicable reason as "Carlos Villar") taking over Lugosi's role as the Count. (In many ways, it was made so that producer Paul Kohner could give heroine Lupita Tovar more roles and eventually marry her [at which he was successful!].) Kohner chose Sheik director George Melford to direct; Melford did a fine job on the movie, better (by most accounts, mine included) than the English version's Tod Browning, but he didn't speak a word of Spanish, necessary to communicate with his Spanish-speaking cast! And, indeed, Drácula was directed via translator. So--an account of a director who did not know "the language," albeit that the language wasn't English!
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Post by mattgarth on Oct 31, 2017 17:41:41 GMT
Michael Curtiz -- "Bring on the empty horses!" Fritz Lang -- "We're shooting dis scene Mit Out Sound" 'MOS' became the standard terminology in the industry after that. MOS - Oh, matt, me thinks you are more a filmmaker than you let on. I use another name for my filmmaking efforts, Spider. Have you ever heard of gotcha! ?
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Post by Doghouse6 on Oct 31, 2017 18:22:42 GMT
Fritz Lang -- "We're shooting dis scene Mit Out Sound" 'MOS' became the standard terminology in the industry after that. That's the popular legend, and the one that all the sound editors and recording technicians with whom I worked as late as 30 years ago were still telling, although I've also heard it about Ernst Lubitsch, who would seem more likely than Lang in any case, since he was working in Hollywood at the dawn of the talkie age while Lang didn't work in the U.S. until production of sound films was in its 10th year. But not to poop any parties or rain on any parades, it had a more technically plausible origin that goes back to when the first sound stages were connected by cable to a studio's central sound recording room that was remote from the stage and camera, and from which the "speed" designation originally came, indicating that the two systems had been synched so that "action" could be called. Any shot not involving sound recording would - depending on which historian steeped in technical arcana you asked - be designated either Motor Only Shot or Motor Only Synch. Call me a pedant, but I generally find "the story behind the story" more interesting.
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Post by Nalkarj on Oct 31, 2017 18:25:23 GMT
mattgarthAh, I knew I'd heard of you: yes, of course, Frank Gotcha, the famed Brazilian-Romanian arthouse director whose This Film Does Not Exist: A Postmodern Fable won a record 12 Academy Awards. I was particularly fond of your Ceci n'est pas une pipe, a biopic-that-was-not-a-biopic about Magritte in which you proved that Magritte himself was non-existent; I believe it won the Palme d'Or?
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Post by mattgarth on Oct 31, 2017 18:35:25 GMT
Did you see my film, Salz? Oh, then you're the one. I've been wondering who was the only person in the theater.
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