THE WAR of the WORLDS - SCRIPT - Orson Welles & T
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Me and Orson Welles Press Kit Draft
presents ME AND ORSON WELLES Directed by Richard Linklater Based on the novel by Robert Kaplow Starring: Claire Danes, Zac Efron and Christian McKay www.meandorsonwelles.com.au National release date: July 29, 2010 Running time: 114 minutes Rating: PG PUBLICITY: Philippa Harris NIX Co t: 02 9211 6650 m: 0409 901 809 e: [email protected] (See last page for state publicity and materials contacts) Synopsis Based in real theatrical history, ME AND ORSON WELLES is a romantic coming‐of‐age story about teenage student Richard Samuels (ZAC EFRON) who lucks into a role in “Julius Caesar” as it’s being re‐imagined by a brilliant, impetuous young director named Orson Welles (impressive newcomer CHRISTIAN MCKAY) at his newly founded Mercury Theatre in New York City, 1937. The rollercoaster week leading up to opening night has Richard make his Broadway debut, find romance with an ambitious older woman (CLAIRE DANES) and eXperience the dark side of genius after daring to cross the brilliant and charismatic‐but‐ sometimes‐cruel Welles, all‐the‐while miXing with everyone from starlets to stagehands in behind‐the‐scenes adventures bound to change his life. All’s fair in love and theatre. Directed by Richard Linklater, the Oscar Nominated director of BEFORE SUNRISE and THE SCHOOL OF ROCK. PRODUCTION I NFORMATION Zac Efron, Ben Chaplin, Claire Danes, Zoe Kazan, Eddie Marsan, Christian McKay, Kelly Reilly and James Tupper lead a talented ensemble cast of stage and screen actors in the coming‐of‐age romantic drama ME AND ORSON WELLES. Oscar®‐nominated director Richard Linklater (“School of Rock”, “Before Sunset”) is at the helm of the CinemaNX and Detour Filmproduction, filmed in the Isle of Man, at Pinewood Studios, on various London locations and in New York City. -
The Dublin Gate Theatre Archive, 1928 - 1979
Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors. -
{Dоwnlоаd/Rеаd PDF Bооk} Citizen Kane Ebook, Epub
CITIZEN KANE PDF, EPUB, EBOOK Harlan Lebo | 368 pages | 01 May 2016 | Thomas Dunne Books | 9781250077530 | English | United States Citizen Kane () - IMDb Mankiewicz , who had been writing Mercury radio scripts. One of the long-standing controversies about Citizen Kane has been the authorship of the screenplay. In February Welles supplied Mankiewicz with pages of notes and put him under contract to write the first draft screenplay under the supervision of John Houseman , Welles's former partner in the Mercury Theatre. Welles later explained, "I left him on his own finally, because we'd started to waste too much time haggling. So, after mutual agreements on storyline and character, Mank went off with Houseman and did his version, while I stayed in Hollywood and wrote mine. The industry accused Welles of underplaying Mankiewicz's contribution to the script, but Welles countered the attacks by saying, "At the end, naturally, I was the one making the picture, after all—who had to make the decisions. I used what I wanted of Mank's and, rightly or wrongly, kept what I liked of my own. The terms of the contract stated that Mankiewicz was to receive no credit for his work, as he was hired as a script doctor. Mankiewicz also threatened to go to the Screen Writers Guild and claim full credit for writing the entire script by himself. After lodging a protest with the Screen Writers Guild, Mankiewicz withdrew it, then vacillated. The guild credit form listed Welles first, Mankiewicz second. Welles's assistant Richard Wilson said that the person who circled Mankiewicz's name in pencil, then drew an arrow that put it in first place, was Welles. -
Tales-From-The-Vault-Of-Fear-Program-Notes.Pdf
CSUB THEATREFEST PRESENTS T E R talestales R FROM THE O R VAULTVAULT OFOF FEARFEAR FEATURING Zero Hour The Shadow People An invasion from outer space A young woman is terrorized by with aliens plotting to annihilate frightening shadow people and planet Earth? Or a simple child’s mysterious voices that appear game called …Invasion? only in the dark Voice on the Wire Eerie and threatening phone calls terrorize a woman, wa r ni ng of her impending murder . Are they ghostly haunts from her dead husband? TIMELINE A VERTICAL TIMELINE OF THE PROGESSION OF RADIO Inventor Guglielmo Marconi sent the 1895 first radio signal in Italy. Marconi patents a “wireless telegraphy” device in England, crediting him as the inventor of 1896 radio. First radio program premiered. Reginald 1906 Fessenden’s broadcast consisted of light violin playing and reading from the Bible. First commerical broadcasting station, 1920 KDKA, was created in Pittsburg. 1922 Radio sells! AT&T runs its first paid commerical for apartment buildings in New York. First radio play, “A Comedy of Danger”, 1924 1927 Pasadena’s Rosebowl football game was the first nationwide broadcast. The Galvin Brothers installed first commercially sucessful car radio. 1930 1973 Motorola was credited with the invention of the first handheld cellular radio telephone. First radio station, WXYC, announced transition 1994 to broadcasting on the Internet. Podcasting invented! Program enabled 2004 downloadable internet radio broadcast to cellular devices. Digital radio consumption of entertainment 2020 at an all time high. Yes, the 1930s. Where a loaf of It was so real to them, for they bread cost 9 cents, Superman have not heard anything of made his first ever comic this caliber before. -
The Hitchhiker” Series: Mercury Theatre Show: the Hitchhiker Date: Jun 21 1946 by Lucille Fletcher
“The Hitchhiker” Series: Mercury Theatre Show: The Hitchhiker Date: Jun 21 1946 by Lucille Fletcher CAST: Ronald Adams (Narrator) Storekeeper Operator 2 Mrs. Adams Woman Mrs. Whitney Hitchhiker (male) Hitchhiker (female) Gas Station Attendant Operator 1 Announcer: The Columbia Network takes pleasure in bringing you...Suspense! Suspense!-- Columbia’s parade of outstanding thrillers produced and directed by William Spier and scored by Bernard Herman. The notable melodramas from stage and screen, fiction and radio, presented each week to bring you to the edge of your chair, to keep you in...Suspense! Good evening, this is Orson Welles, and very happy I am to be back in the United States and back on the Columbia Network, even for so short a visit as this one--back with old friends like Johnny Dietz, who’s tonight’s director, and Bernard Herrmann. The Mercury Theater presented tonight’s radio play for the first time last year, and we came out right then and hailed it as a classic of the media. Nobody argued the point, a lot of people asked us to do it again, so it’s gratifying to get the chance now and to find a favorite of ours in this distinguished anthology of spook shows. SOUND: (AUTO DRIVES BY) ADAMS: I'm in an auto camp on Route 66 just west of Gallup, New Mexico. If I tell it, perhaps it'll help me -- keep me from going - going crazy. I gotta tell this quickly. I'm not crazy now - I feel perfectly well, except that I'm running a slight temperature. -
Citizen Kane Handout.Pdf
Areas of study covered include narrative structure, industry and institution and understanding the language of film. Citizen Kane: Certificate U. Running Time 119 minutes. MAJOR CREDITS FOR CITIZEN KANE Citizen Kane 1941 (RKO/Mercury) Producer: Orson Welles Director: Orson Welles Screenplay: Herman J. Mankiewicz, Orson Welles [Joseph Cotten, John Housemani Director of’ Photography: Gregg Toland Editor: Robert Wise, [Mark Robson] Music: Bernard Herrmann Art Directors: Van Nest Polgiase, Perry Ferguson Cast: Orson Welles Joseph Cotten Everett Sloane Dorothy Comingore Agnes Moorehead Ray Collins Paul Stewart George Coulouris Ruth Warrick Oscars 1941: Best Original Screenplay Oscar Nominations 1941: Best Picture Best Director Best Actor (Orson Welles) Best B/W Cinematography Best B/NV Art Direction Best Editing Best Scoring of’ a Dramatic Picture Best Sound Cast and characters[edit] The cast of Citizen Kane is listed at the American Film Institute Catalog of Feature Films.[3] Orson Welles as Charles Foster Kane, the titular "Citizen Kane", a wealthy, megalomaniacal newspaper publisher whose life is the film's subject. His name actually appears last in the closing credits. Joseph Cotten as Jedediah Leland, Kane's best friend and the first reporter on Kane's paper. Leland continues to work for Kane as his empire grows, although they grow apart over the years. Kane fires Leland after he writes a negative review of Susan Alexander Kane's operatic debut (which, ironically, Kane himself finished when a drunk Leland fell unconscious). Dorothy Comingore as Susan Alexander Kane, Kane's mistress, who later becomes his second wife. Everett Sloane as Mr. Bernstein, Kane's friend and employee who remains loyal to him to the end. -
ORSON WELLES As FALSTAFF in CHIMES at MIDNIGHT
ORSON WELLES AS FALSTAFF IN CHIMES AT MIDNIGHT “ If I wanted to get into heaven on the basis of one movie, that’s the one I would offer up. I think it’s because it is, to me, the least flawed . I succeeded more completely, in my view, with that than with anything else.” —Orson Welles “Chimes at Midnight . may be the greatest Shakespearean film ever made, bar none.” —Vincent Canby, The New York Times “ He has directed a sequence, the Battle of Shrewsbury, which is unlike anything he has ever done, indeed unlike any battle ever done on the screen before. It ranks with the best of Griffith, John Ford, Eisenstein, Kurosawa—that is, with the best ever done.” —Pauline Kael Spain • 1966 • 116 Minutes • Black & White • 1.66:1 Booking Inquiries: Janus Films Press Contact: Ryan Werner [email protected] • 212-756-8761 [email protected] • 917-254-7653 CHIMES AT MIDNIGHT JANUS FILMS SYNOPSIS The crowning achievement of Orson Welles’s later film career,Chimes at Midnight returns to the screen after being unavailable for decades. This brilliantly crafted Shakespeare adaptation was the culmination of Welles’s lifelong obsession with the Bard’s ultimate rapscallion, Sir John Falstaff, the loyal, often soused childhood friend to King Henry IV’s wayward son Prince Hal. Appearing in several plays as a comic supporting figure, Falstaff is here the main event: a robustly funny and ultimately tragic screen antihero played by Welles with towering, lumbering grace. Integrating elements from both Henry IV plays as well as Richard II, Henry V, and The Merry Wives of Windsor, Welles created an unorthodox Shakespeare film that is also a gritty period piece, which he called “a lament . -
'Mercury' Character Descriptions
‘Mercury’ Character Descriptions Main Cast (No doubling.) Orson Welles - Actor/Director (290 lines) Visionary genius of radio and screen in the making, a force of nature. Focused, to the point of unfriendliness. Is consumed by the current ‘idea’, whether it is a script, a screenplay, a woman, food or drink. John Houseman – Producer (242 lines) Yin to Orson’s Yang. Enables Orson’s genius by smoothing the way to allow his creativity to shine. Raised British, well spoken, has been in America for thirteen years. Howard Koch – Writer (114 lines) Jewish, Chicago native, writer. Hired to write for the Mercury Theatre On the Air after Houseman saw his play, The Lonely Man performed in Chicago. This will be his fourth radio adaptation for the Mercury. Paul Stewart - Actor/Co-Director (130 lines) Genial, practical, easy going member of the Mercury. Smooths between the ‘in booth’ and ‘in studio’ worlds of the Mercury. Davidson Taylor - CBS Supervisor (122 lines) A worrier. Fierce in his love for and protection of the Studio. Has an eye for the detail, and identifies more with techs than the creatives. Supporting Cast (Anyone not in the final scene may be called upon to double as a reporter.) Ora Nichols - Sound Designer (49 lines) Aurora Nichols, inventor of sound effects in radio. Knows that the ‘metaphor’ of sound comes across better than its reality. She once made Orson Welles apologise to her. Publicly. Frank Readick – Actor (34 lines) William Alland – Actor (44 lines) Kenny Delmar – Actor (61 lines) The Mercury actors. They’re the comic relief; Lion, Tin Man, Scarecrow. -
After the Invasion from Mars: Orson Welles and RKO
After the Invasion from Mars: Orson Welles and RKO In October 1938 Orson Welles and the Mercury Theatre on the Air stunned the nation with their radio broadcast of H. G. Wells' The War of the Worlds , making the 23-year-old Welles an instant celeb rity. At the same time the motion picture studio RKO Pictures was undergoing another of its many financial crises. George Schaefer, head of RKO, offered Welles an unprecedented contract to write, produce, direct, and act in three motion pictures, with the hope that Welles could increase RKO's reputation and its box-office re ceipts. This contract, which Welles accepted, created a vast amount of publicity, much of it unfavorable to Welles who was termed the "boy wonder" by the press. The unfavorable publicity was a por tent of the often stormy relationship between Welles and RKO from 1939 to 1942. Following his arrival in Hollywood in 1939, Welles decided that his first film would be an adaptation of Joseph Conrad's story of the Congo, Heart of Darkness. In this film Welles conceived that the camera would play the role of Marlowe while he would have the part of Kurtz. Over one hundred items in the Lilly Library's collection of Welles manuscripts relate to this project, including three drafts of the script, descriptions of camera shots, an over-all schedule from the preliminary budget to cutting and scoring, lists of the cast, memos about budget meetings, pre-budget estimates, budget revisions, staff and cast salaries, and publicity materials. There is also a series of photographs showing make-up details for Welles' character. -
Orson Welles, the War of the Worlds Copyright, and Why We Should Recognize Idea-Contributors As Joint Authors
Case Western Reserve Law Review Volume 66 Issue 3 Article 4 2016 An Idea of Authorship: Orson Welles, The War of the Worlds Copyright, and Why We Should Recognize Idea-Contributors as Joint Authors Timothy J. McFarlin Follow this and additional works at: https://scholarlycommons.law.case.edu/caselrev Part of the Law Commons Recommended Citation Timothy J. McFarlin, An Idea of Authorship: Orson Welles, The War of the Worlds Copyright, and Why We Should Recognize Idea-Contributors as Joint Authors, 66 Case W. Rsrv. L. Rev. 701 (2016) Available at: https://scholarlycommons.law.case.edu/caselrev/vol66/iss3/4 This Article is brought to you for free and open access by the Student Journals at Case Western Reserve University School of Law Scholarly Commons. It has been accepted for inclusion in Case Western Reserve Law Review by an authorized administrator of Case Western Reserve University School of Law Scholarly Commons. Case Western Reserve Law Review·Volume 66·Issue 3·2016 An Idea of Authorship: Orson Welles, The War of the Worlds Copyright, and Why We Should Recognize Idea- Contributors as Joint Authors Timothy J. McFarlin† Abstract Did Orson Welles co-author the infamous War of the Worlds broad- cast? The Ninth Circuit Court of Appeals has told us no, primarily because he only contributed the idea behind the broadcast, and ideas alone can’t be copyrighted. “An Idea of Authorship” challenges this premise—that ideas, no matter how significant, cannot qualify for joint authorship in collaborative works—and argues that we as a society should, under certain circumstances, recognize idea-contributors like Welles as joint authors. -
Staging Orson Welles
STAGING ORSON WELLES Matthew Christopher Gretzinger A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2010 Committee: Dr. Jonathan Chambers, Advisor Dr. Stephannie Gearhart Graduate Faculty Representative Dr. Scott Magelssen Dr. Cynthia Baron ii ABSTRACT Dr. Jonathan Chambers, Advisor In this study I consider the legacy of Orson Welles as a stage figure puppeted in a collective theatre of memory. The study builds on Jonathan Rosenbaum's observation that Welles remains a "mythical and ideological creature" and a "site for the acting out of various fantasies." Referencing Marvin Carlson's The Haunted Stage and Joseph Roach's Cities of the Dead, I apply their insights to three plays that feature Welles as a pivotal character: Jason Sherman's It's All True, Austin Pendleton's Orson's Shadow, and the Naomi Iizuka-Anne Bogart collaboration, War of the Worlds. My central concern is to consider the ways we remember and stage Welles and, in light of Rosenbaum's insight, to also question the myths and ideologies those stagings act out. A corollary to my interrogation of Welles's stage figure as a site of memory is my conviction that the collective memory of Welles's life and work might be staged more usefully. The plays considered approach Welles from different perspectives. However, all – to varying degrees – assess negative judgments. Welles's legacy has been subject to conflicting interpretations, and the arbitration of his historical and remembered significance is a process with important consequences. -
Orson Welles on the Air: Radio Recordings and Scripts, 1938-1946
Orson Welles on the Air: Radio Recordings and Scripts, 1938-1946 “My big inventions were in radio and the theatre. Much more than in movies.” — Orson Welles “Seeing the original scripts of the Mercury Theatre on the Air programs and the disks that transcribed them was like gazing upon a Rosetta Stone of broadcast radio.” — Paul Heyer Indiana University proposes to digitize and preserve 324 original sound recordings and accompanying scripts of radio programs produced by Orson Welles and to present the digitized materials in a free web site with enhanced metadata and contextual essays by leading scholars of Welles’s radio work. Orson Welles was a major creative force in the American theatrical and media arts of the mid-twentieth century. Through his work as an actor, director, writer, and producer, he was responsible for some of the era’s most critically acclaimed innovations not just within a single medium, but in a body of work that spanned film, live theater, and radio. Through the series known as First Person Singular, Mercury Theatre on the Air, and Campbell Playhouse in turn, Welles is widely recognized as having raised the bar for radio drama, pioneering and honing narrative techniques that he would later carry over into his acclaimed film work. Among other things, he emphasized the value of narration—something at which he excelled—rejecting the notion that radio drama should simply involve broadcasting the kind of sounds someone might have heard while watching a stage play. One episode of the Mercury Theatre on the Air, “The War of the Worlds,” arguably became the most famous (or infamous) broadcast in history, thanks to the panic it’s alleged to have caused among listeners who mistook its dramatization of H.