The Silent Film Project
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June 20, 2017 Movie Year STAR 351 P Acu Lan E, Bish Op a B Erd
Movie Year STAR 351 Pacu Lane, Bishop Aberdeen Aberdeen Restaurant, Olancha Airflite Diner, Alabama Hills Ranch Anchor Alpenhof Lodge, Mammoth Lakes Benton Crossing Big Pine Bishop Bishop Reservation Paiute Buttermilk Country Carson & Colorado Railroad Gordo Cerro Chalk Bluffs Inyo Convict Lake Coso Junction Cottonwood Canyon Lake Crowley Crystal Crag Darwin Deep Springs Big Pine College, Devil's Postpile Diaz Lake, Lone Pine Eastern Sierra Fish Springs High Sierras High Sierra Mountains Highway 136 Keeler Highway 395 & Gill Station Rd Hoppy Cabin Horseshoe Meadows Rd Hot Creek Independence Inyo County Inyo National Forest June Lake June Mountain Keeler Station Keeler Kennedy Meadows Lake Crowley Lake Mary 2012 Gold Rush Expedition Race 2013 DOCUMENTARY 2013 Gold Rush Expedition Race 2014 DOCUMENTARY 2014 Gold Rush Expedition Race 2015 DOCUMENTARY 26 Men: Incident at Yuma 1957 Tristram Coffin x 3 Bad Men 1926 George O'Brien x 3 Godfathers 1948 John Wayne x x 5 Races, 5 Continents (SHORT) 2011 Kilian Jornet Abandoned: California Water Supply 2016 Rick McCrank x x Above Suspicion 1943 Joan Crawford x Across the Plains 1939 Jack Randall x Adventures in Wild California 2000 Susan Campbell x Adventures of Captain Marvel 1941 Tom Tyler x Adventures of Champion, The 1955-1956 Champion (the horse) Adventures of Champion, The: Andrew and the Deadly Double1956 Champion the Horse x Adventures of Champion, The: Crossroad Trail 1955 Champion the Horse x Adventures of Hajji Baba, The 1954 John Derek x Adventures of Marco Polo, The 1938 Gary Cooper x Adventures of Wild Bill Hickok 1951-1958 Guy Madison Affairs with Bears (SHORT) 2002 Steve Searles Air Mail 1932 Pat O'Brien x Alias Smith and Jones 1971-1973 Ben Murphy x Alien Planet (TV Movie) 2005 Wayne D. -
OSU-Tulsa Library Michael Wallis Papers the Real Wild West Writings
OSU-Tulsa Library Michael Wallis papers The Real Wild West Rev. July 2013 Writings 1:1 Typed draft book proposals, overviews and chapter summaries, prologue, introduction, chronologies, all in several versions. Letter from Wallis to Robert Weil (St. Martin’s Press) in reference to Wallis’s reasons for writing the book. 24 Feb 1990. 1:2 Version 1A: “The Making of the West: From Sagebrush to Silverscreen.” 19p. 1:3 Version 1B, 28p. 1:4 Version 1C, 75p. 1:5 Version 2A, 37p. 1:6 Version 2B, 56p. 1:7 Version 2C, marked as final draft, circa 12 Dec 1990. 56p. 1:8 Version 3A: “The Making of the West: From Sagebrush to Silverscreen. The Story of the Miller Brothers’ 101 Ranch Empire…” 55p. 1:9 Version 3B, 46p. 1:10 Version 4: “The Read Wild West. Saturday’s Heroes: From Sagebrush to Silverscreen.” 37p. 1:11 Version 5: “The Real Wild West: The Story of the 101 Ranch.” 8p. 1:12 Version 6A: “The Real Wild West: The Story of the Miller Brothers and the 101 Ranch.” 25p. 1:13 Version 6B, 4p. 1:14 Version 6C, 26p. 1:15 Typed draft list of sidebars and songs, 2p. Another list of proposed titles of sidebars and songs, 6p. 1:16 Introduction, a different version from the one used in Version 1 draft of text, 5p. 1:17 Version 1: “The Hundred and 101. The True Story of the Men and Women Who Created ‘The Real Wild West.’” Early typed draft text with handwritten revisions and notations. Includes title page, Dedication, Epigraph, with text and accompanying portraits and references. -
Script Sample
At the Movies with Kenneth and Asher a one-act play © 2019 by the author Draft 5-31-19 Cast Kenneth boy fourteen or fifteen any ethnicity a Raymond Babbit/Salieri/Chief Bromden/etc. type Asher boy fourteen or fifteen any ethnicity a Charlie Babbit/Mozart/Randle McMurphy/etc. type Olivia de Havilland* woman eighty-six any ethnicity the Olivia de Havilland—more specifically, the Olivia de Havilland from her interview on the special features of the Gone With The Wind DVD Naomi* woman thirties/forties Kenneth’s and Asher’s theatre teacher any ethnicity a Carolyn Burnham/Jenny Curran/Annie Hall/etc. type *May be played by the same actor Setting Winter 2003/2004. The exterior of a movie theatre in a shopping center in South Florida, the part of it that leads to the back of the shopping center, close to the theaters’ emergency exit doors and the dumpsters. Past this area is some parking, followed by a large collection of trees, dark, illuminated only by a tall yellow streetlamp—the closest thing South Florida has to a forest. Production Design There’s a bench. There are a few “Now Playing” and/or “Coming Soon” movie posters in light boxes on the wall of the building. It’s Oscar season. The sun is beginning to set. It’s hot. It’s so hot. It’s so unbelievably hot. And muggy. At the Movies with Kenneth and Asher 1 Asher storms on, coming from the main entrance of the movie theatre. He has a sweatshirt tied around his waist. -
February 4, 2020 (XL:2) Lloyd Bacon: 42ND STREET (1933, 89M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
February 4, 2020 (XL:2) Lloyd Bacon: 42ND STREET (1933, 89m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Lloyd Bacon WRITING Rian James and James Seymour wrote the screenplay with contributions from Whitney Bolton, based on a novel by Bradford Ropes. PRODUCER Darryl F. Zanuck CINEMATOGRAPHY Sol Polito EDITING Thomas Pratt and Frank Ware DANCE ENSEMBLE DESIGN Busby Berkeley The film was nominated for Best Picture and Best Sound at the 1934 Academy Awards. In 1998, the National Film Preservation Board entered the film into the National Film Registry. CAST Warner Baxter...Julian Marsh Bebe Daniels...Dorothy Brock George Brent...Pat Denning Knuckles (1927), She Couldn't Say No (1930), A Notorious Ruby Keeler...Peggy Sawyer Affair (1930), Moby Dick (1930), Gold Dust Gertie (1931), Guy Kibbee...Abner Dillon Manhattan Parade (1931), Fireman, Save My Child Una Merkel...Lorraine Fleming (1932), 42nd Street (1933), Mary Stevens, M.D. (1933), Ginger Rogers...Ann Lowell Footlight Parade (1933), Devil Dogs of the Air (1935), Ned Sparks...Thomas Barry Gold Diggers of 1937 (1936), San Quentin (1937), Dick Powell...Billy Lawler Espionage Agent (1939), Knute Rockne All American Allen Jenkins...Mac Elroy (1940), Action, the North Atlantic (1943), The Sullivans Edward J. Nugent...Terry (1944), You Were Meant for Me (1948), Give My Regards Robert McWade...Jones to Broadway (1948), It Happens Every Spring (1949), The George E. -
Elizabeth Taylor: Screen Goddess
PRESS RELEASE: June 2011 11/5 Elizabeth Taylor: Screen Goddess BFI Southbank Salutes the Hollywood Legend On 23 March 2011 Hollywood – and the world – lost a living legend when Dame Elizabeth Taylor died. As a tribute to her BFI Southbank presents a season of some of her finest films, this August, including Giant (1956), Cat on a Hot Tin Roof (1958) and Who’s Afraid of Virginia Woolf? (1966). Throughout her career she won two Academy Awards and was nominated for a further three, and, beauty aside, was known for her humanitarian work and fearless social activism. Elizabeth Taylor was born in Hampstead, London, on 27 February 1932 to affluent American parents, and moved to the US just months before the outbreak of WWII. Retired stage actress Sara Southern doggedly promoted her daughter’s career as a child star, culminating in the hit National Velvet (1944), when she was just 12, and was instrumental in the reluctant teenager’s successful transition to adult roles. Her first big success in an adult role came with Vincente Minnelli’s Father of the Bride (1950), before her burgeoning sexuality was recognised and she was cast as a wealthy young seductress in A Place in the Sun (1951) – her first on-screen partnership with Montgomery Clift (a friend to whom Taylor remained fiercely loyal until Clift’s death in 1966). Together they were hailed as the most beautiful movie couple in Hollywood history. The oil-epic Giant (1956) came next, followed by Raintree County (1958), which earned the actress her first Oscar nomination and saw Taylor reunited with Clift, though it was during the filming that he was in the infamous car crash that would leave him physically and mentally scarred. -
Schätze Des Filmmuseums München S M U E S U M M L I F
Schätze des Filmmuseums München s m u e s u m m l i F s e d e z t ä h c S 20 Z N A T N E T O T R E D Seit den 1970er Jahren sind im Filmmuseum mehr als POTEMKIN und GLUMOVS TAGEBUCH von Sergej 100 Filme rekonstruiert worden. Es begann, als Enno Eisenstein zählen zu den bekanntesten Titeln. Seit Patalas den Zustand vieler Filmklassiker beklagte, die 1999 werden verstärkt digitale Techniken bei der Res - unvollständig überliefert waren, und damit anfing, ver - taurierung eingesetzt und der Schwerpunkt auf die Auf - schiedene Kopien desselben Films miteinander zu ver - bereitung von Filmfragmenten und filmischen Gesamt - gleichen und zu ergänzen. Mithilfe von Drehbüchern werken erweitert. So kümmert sich das Filmmuseum und Zensurakten wurden neue Schnittfassungen er - um die Werke von Filmemachern wie Manfred Noa, stellt, Zwischentitel im originalen Wortlaut und, wenn Walther Ruttmann, Orson Welles, Werner Schroeter, bekannt, in der originalen Grafik wieder eingefügt, und Thomas Harlan, Katrin Seybold und Vlado Kristl, die es die originalen Einfärbungen der Filme wieder nachemp - auch auf DVD in der 2007 gegründeten Edition Film - funden. Spektakuläre Rekonstruktionen bekannter museum zugänglich macht. Da das Budget für die Res - Klassiker nahmen von München aus ihren Weg in die taurierungsarbeiten sehr begrenzt ist, wird oft mit Fern - Welt, viele davon wurden von den Rechtsinhabern, die sehsendern oder Sponsoren zusammengearbeitet. anfangs die Notwendigkeit von Rekonstruktionen und Die Filmreihe zum 50. Geburtstag des Filmmuseums Restaurierungen ablehnten, später übernommen und präsentiert eine kleine Auswahl von Schätzen aus der weitergeführt: METROPOLIS, DIE NIBELUNGEN und M eigenen Sammlung, die es noch zu entdecken gilt. -
The Rocky Road to OZ Wicked Witch’S Fiery Exit
Saturday, April 9, 2011; 2 & 8 pm only E.Y Harburg tune “Over the Rainbow” (which was almost cut from the picture) became Garland’s theme and a song that has attained cult status. Casting was not the only problem. The script was labored over by 16 writers, 13 of whom went uncredited including cast members Jack Haley and Bert Lahr, poet Ogden Nash, and screenwriter Herman J. Mankiewicz, who authored Citizen Kane (1941). The picture went through five directors (Norman Taurog, Mervyn LeRoy, George Cukor, Richard Thorpe and Victor Fleming), a ton of extras and they almost fried Margaret Hamilton in the effects created for the The Rocky Road to OZ Wicked Witch’s fiery exit. the time The Wizard of Oz premiered at Sid Grauman’s Chinese Theater on a summer night Yet despite the difficulties, and the initial lackluster box By in 1939, it had been staged successfully as a office,The Wizard of Oz was Oscar®-nominated for Best Broadway musical and three silent film versions had already Picture, Color Cinematography, Interior Decoration, and been released. L. Frank Baum, creator of the Oz franchise did Special Effects and won awards for Best Song (“Over the his own production in 1914 and the 1925 version directed Rainbow”) and Original Score. It also placed tenth on the by silent film comedian Larry Semon featured Oliver ‘Babe’ list of the Greatest American Films of All Time. “There’s no Hardy as the Tin Woodman. Samuel Goldwyn, who had question that Steven Spielberg, George Lucas, Peter Jackson, acquired the film rights in 1933, sold them to M-G-M for almost any influential contemporary filmmaker you could $75,000 and the adventure began. -
Pass the Gravy by Steve Massa
Pass the Gravy By Steve Massa Max Davidson had appeared in movies since the early teens – act- ing at Biograph, supporting Fay Tincher in her Komic Comedy and Fine Arts comedy, and briefly headlining in his own Izzy Come- dies” – usually portraying stereo- typical Jewish tailors and mer- chants. After scoring a notable success co-starring with Jackie Coogan in the features “The Rag Man” and “Old Clothes” (both 1925) he was hired by producer Hal Roach to be part of his stable of supporting comedians. Proving himself in the service of Roach star comics Cuckoos” (1927) introductory description of “Love’s such as Stan Laurel, Charley Chase, and Mabel Greatest Mistake.” Screen freckles usually denote Normand in the shorts “Get ‘Em Young,” “Long Fliv fresh and fun-loving characters, but Spec’s spots the King” (both 1926), and “Anything Once” (1927), came with an icy heart, a malevolent grin, and Max was bumped up to the leading role in his own beady eyes that loved to see his screen father series and given the opportunity to flesh out his squirm. standard screen persona. The first entries were di- rected by Leo McCarey, then director-general of the In contrast to his sons like Spec, Max’s screen Roach Studio, who laid the ground work with shorts daughters are always his pride and joy, but still such as “Why Girls Say No,” “Jewish Prudence,” cause him a lot of aggravation, particularly when “Don’t Tell Everything,” and “Should Second they take up with boys he doesn’t approve of or as- Husbands Come First?” (all 1927). -
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158. -
Nov/Dec 2017 Volume 21, Issue 5
Bimonthly Publication of the Central Florida Jazz Society BLUE NOV/DEC 2017 VOLUME 21, ISSUE 5 NOTES Joey Alexander, Grammy-nominated fourteen- year-old piano prodigy, released his latest album in homage to his lifelong hero Thelonious Monk. “Sometimes, when I’m just practicing, playing something else, new melodic and rhythmic ideas come to me and I realize I’m actually starting to compose a song. I think writing strong tunes comes from listening to so much music from composers and artists I like. I would say that Monk has had the greatest influence on me. Hearing his pieces so many times had a great impact on me and inspired me to write my own pieces. I actually find it harder to interpret other people’s songs than write my own, because I have to figure out and feel what the song is about and find a way to make it my own. Monk taught me to groove, bounce, understand space, be patient, be simple, sometimes be mysterious but, most of all, to be joyful. In my arrangements, I try to stay true to the essence of his music — to treat it with the highest level of respect. Monk’s music is the essence of beauty.” https://www.villagevoice.com/2017/10/10/18-jazz- pianists-pay-tribute-to-thelonious-monk-on-his-100th- birthday/ CFJS 3208 W. Lake Mary Blvd., Suite 1720 President’s Lake Mary, FL 32746-3467 [email protected] Improv http://centralfloridajazzsociety.com By Carla Page Executive Committee The very first thing I want to do is apologize for our last Blue Carla Page Notes. -
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^PPip «^p -• fflSle GHp Stopl (Sazrtfr att& (Eolontat Hatlg INCORPORATING THE ROYAL GAZETTE (Etffcblished 1828) and THE BERMUDA COLONIST (Established 1866) VOL. 15~~NO. 231 HAMILTON. BERMUDA, WEDNESDAY, OCOTBER 1, 1930 3D PER COPY—AOl- PER ANNUM ENGLAND MOURNS LOSS OF BRIIXIANT IAWYER^STATEMAN PREMIERS GATHER FOR DEATH OF LORD THE BERMUDA NEW YOK STOCK [ THEY SAY fl BIRKENHEAD RAILWAY MARKET That the expected flight of the Do-X IMPERIAL CONFERENCE is creating quite a lot of interest. Rapid Progress Expected * » * Brilliant Statesman, That it should mark an era ln de Hfr~ Yesterday's Closing velopment. Shortly * * * Lawyer and Writer Prices That proper recognition of the event Germany Faced With Big in consequence of a cable des should be made. patch received by us yesterday to * * * A special Reuter's despatch re the effeot-teat a railway construct Alleghany Oorp -„-„..- 18 That some will regret a foreign ion expert-.had sailed -by the Lady r Deficit ceived by the Royal Gazette and Allied Chemical. __. N.Q. firm is first in the field. Colonist Daily yesterday announced Somers to start construction on * * * Bermuda's first railway, our re Am. Oan 117 the death of Lord Birkenhead whose Am. ft Foreign Power 53) That nevertheless the first should health has been giving consider presentee called on Mr. O. A. always receive credit. Jones, the construction manager Am. Locomotive. 37} able anxiety for some time. Few Am. Power & Light... 70 * • • men of the present age have had a for Messrs Balfour, Beatty, & Com pany, **tho are building the railway. Am. Smelting & Refining. -
Moma More Cruel and Unusual Comedy Social Commentary in The
MoMA Presents: More Cruel and Unusual Comedy: Social Commentary in the American Slapstick Film Part 2 October 6-14, 2010 Silent-era slapstick highlighted social, cultural, and aesthetic themes that continue to be central concerns around the world today; issues of race, gender, propriety, and economics have traditionally been among the most vital sources for rude comedy. Drawing on the Museum’s holdings of silent comedy, acquired largely in the 1970s and 1980s by former curator Eileen Bowser, Cruel and Unusual Comedy presents an otherwise little-seen body of work to contemporary audiences from an engaging perspective. The series, which first appeared in May 2009, continues with films that take aim at issues of sexual identity, substance abuse, health care, homelessness and economic disparity, and Surrealism. On October 8 at 8PM, Ms Bowser will address the connection between silent comedy and the international film archive movement, when she introduces a program of shorts that take physical comedy to extremes of dream-like invention and destruction. Audiences today will find the vulgar zest and anarchic spirit of silent slapstick has much in common with contemporary entertainment such as Cartoon Network's Adult Swim, MTV's Jackass and the current Jackass 3-D feature. A majority of the films in the series are archival rarities, often the only known surviving version, and feature lesser- remembered performers on the order of Al St. John, Lloyd Hamilton, Fay Tincher, Hank Mann, Lupino Lane, and even one, Diana Serra Cary (a.k.a. Baby Peggy), who, at 91, is the oldest living silent film star still active.