- published: 28 Nov 2018
- views: 1561
-
remove the playlistWalter Haggar
- remove the playlistWalter Haggar
back to playlist
More rare films here: https://filmsbytheyear.com/chronological-list-of-films/
Join the Films by the Year Facebook group: https://www.facebook.com/groups/filmsbytheyear/
https://www.imdb.com/title/tt0000520/?ref_=fn_al_tt_1
Director: William Haggar
Cast: Walter Haggar, Violet Haggar, Lily Haggar
Production Co: William Haggar and Sons
Country: UK
Three hunters surprise two poachers in the act. The hunters take umbrage and give chase over fences and through fields. The hunters fire away, but the poachers have guns as well, and a fight ensues with casualties for the hunters.
Cast
Sid Griffiths ... Second Poacher
Will Haggar Jr. ... First Poacher
Walter Haggar ... First Gamekeeper
Directed by William Haggar
Details
Country UK
Release Date: July, 1903
Production Co: William Haggar And Sons
--------------------------------------------------------------------------------
- published: 19 Aug 2015
- views: 324
In an interview filmed ten days before his death, former President Lyndon B. Johnson discusses with Walter Cronkite his commitment to civil rights and his achievements in this area: the Civil Rights Act of 1964, the Voting Rights Act of 1965, and the Equal Housing Law of 1968
originally shared on the Internet archive. I do not own the rights
#####
Reelblack's mission is to educate, elevate, entertain, enlighten, and empower through Black film. If there is content shared on this platform that you feel infringes on your intellectual property, please email me at Reelblack@mail.com and info@reelblack.com with details and it will be promptly removed.
- published: 21 Sep 2018
- views: 371227
To listen to more of Walter Murch’s stories, go to the playlist: https://www.youtube.com/playlist?list=PLVV0r6CmEsFzCodipONmNiROhYCUWyz_U
Walter Scott Murch (b. 1943) is widely recognised as one of the leading authorities in the field of film editing, as well as one of the few film editors equally active in both picture and sound. [Listener: Christopher Sykes]
TRANSCRIPT: When we were mixing 'The Godfather', we were mixing in Los Angeles to a black and white print. So it wasn't video, but it was still black and white, and it was still a dupe, meaning a generational loss. Like a bad Xerox version of the film. And this was fine for doing the mixing, but a version of that same problem was present in any of this technology of the time. And the question comes, when do we show it to the producers? Meaning, the head of the studio, Bob Evans, when do we show this? 'We're not going to show it to him', said Howard Beals, who was the head of the sound effects department at Paramount at the time. 'We're not going to show it to them until we have a colour answer print.' Why? 'Because it will sound better when it's in colour.' Why? And he came up with a fantastically accurate emotional answer to it, he said, 'It sounds better for the same reason your car drives better when it's clean.' So if you'd have the experience, which we all probably have had, of putting your car through a car wash and cleaning it and polishing it, and then you get in. It's exactly the same car, the motor and everything, but you drive off and somehow, it seems to be driving better.
It's... When the picture is low in quality, again, more of your mind is able to pay conscious attention to the sound and you are aware of, inevitably, the technical problems that still remain that you haven't found a solution to. When it's in colour, there's this blooming of the brain. It now has more to deal with in colour, and less brain to deal with the problems, the fact that the equalisation wasn't exactly right there, or we still hear the click of the cut from one scene to another. Whatever they might be, these minor imperfections suddenly seem to go away. They haven't gone away, they are still there technically, on the soundtrack, but your brain does not have the ability to pay conscious attention to them. And so they are pushed to one side as if they didn't exist in the first place. These are problems that have disappeared from our world, because we now... When we're doing postproduction, we are always looking at a very sharp colour image of whatever it is that we're working on. And the distinction between what we're looking at and what will finally be seen in the theatre is negligible.
- published: 13 Sep 2017
- views: 492
To listen to more of Walter Murch’s stories, go to the playlist: https://www.youtube.com/playlist?list=PLVV0r6CmEsFzCodipONmNiROhYCUWyz_U
Walter Scott Murch (b. 1943) is widely recognised as one of the leading authorities in the field of film editing, as well as one of the few film editors equally active in both picture and sound. [Listener: Christopher Sykes]
TRANSCRIPT: This was an unusual thing to do, to screw around with music like this, but we were in a desperate situation so that's what I did. And we... I took it into the mixing theatre, and we mixed it that way, and then called Bob Evans and said, 'Come down and listen to this cue.' So he came, and everyone... I knew it was going to work, but everyone else was, like, what's he going to say? And so he came in very impatiently, and he had a bad back at that time so there was a hospital bed in the mixing room, and he would lie down on the bed. 'Okay, play it.' And we played the scene, and when the scene was over, he jumped out of bed, forgot about his bad back, and he said, 'Fantastic. Give me a telephone.' So we gave him a telephone with a long cord on it, and he started to... 'Go back to the head of the scene', and he started dialling the phone, and walked up to the screen, and turned around and said, 'Roll it.' And he got... On the other end of the phone was Charlie Bluhdorn, who was the head of Gulf and Western, which was the parent corporation that then owned Paramount. And he said, 'Charlie, listen to this', and he held the telephone up to the screen, and we ran the scene. And I was sitting in the back with Dick Portman, the lead mixer on the film, and we looked at each other as if to say, 'This is one of those moments.' Because here is the head of the studio holding a telephone up to the screen, and his shadow is being cast on the screen. And what's on the screen is the fictional head of a studio who is pulling back the sheets, revealing more and more blood, and then this actual decapitated horse's head that has been put inside his bed. And the scene is over, and he talks to Bluhdorn, 'Yes, it's fantastic, okay, great. You know, click.' And then, 'Great work, keep up the good work.' And he leaves, and we never hear from Bob Evans again.
So somehow, that scene satisfied him that it was going to be okay, whatever the problem was. And we just continued to mix the film the way we had wanted to do it in the first place. But that image is still imprinted on my retina somewhere, of this guy holding a telephone up to the screen, with the horse's head playing in the background. I can't imagine what it sounded like to Charlie Bluhdorn at the other end, because you know, what would it sound like, going over the telephone line, without the picture? But the net result was all good as far as we were concerned.
- published: 13 Sep 2017
- views: 328
To listen to more of Walter Murch’s stories, go to the playlist: https://www.youtube.com/playlist?list=PLVV0r6CmEsFzCodipONmNiROhYCUWyz_U
Walter Scott Murch (b. 1943) is widely recognised as one of the leading authorities in the field of film editing, as well as one of the few film editors equally active in both picture and sound. [Listener: Christopher Sykes]
TRANSCRIPT: The following year, Francis had written a screenplay for the film 'The Rain People', which was an original screenplay about a wife coming to terms with a pregnancy that she did not really want. She wasn't ready to have a kid yet and so she travels. She gets in her car and travels across country with this baby inside her and along the way, she picks up a hitchhiker. Shirley Knight played the mother, the wife and James Caan played the hitchhiker and they travel across the country. She flirts with him but it turns out he's brain damaged because of a football accident. And the subtext of the film is that this brain damaged college student that she's carrying with her becomes the proxy for the child that she's carrying in her womb. And one thing leads to another and Robert Duvall enters the picture as a policeman and the football player in the end gets killed trying to protect her from this policeman who gets angry about something when... I forget the particular details of it but it's a kind of domestic tragedy. It ends with her holding this dead baby, this football player and promising to do right by him and you never know what her final decision is, relative to her own pregnancy.
- published: 13 Sep 2017
- views: 464
developed with YouTube
Walter (archbishop of Sens)
Walter (or Vaulter) was Archbishop of Sens from 887 to 923.
He anointed Eudes as King of France in 888, Robert I in July 922, and Rudolph of France on 13 July 923, all in the church of St. Medard's Abbey, Soissons.
He doubtlessly inherited from his uncle Walter, Bishop of Orléans, a superb sacramentary composed between 855 and 873 for the Abbey of St-Amand at Puelle. This sacramentary, which he gave to the church of Sens, forms one of the most curious monuments of Carolingian art and is now in the library of Stockholm.
Sources
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Walter_(archbishop_of_Sens)
Diophantus (crater)
Diophantus is a lunar impact crater that lies in the southwestern part of the Mare Imbrium. It forms a pair with the larger crater Delisle to the north. Diophantus has a wide inner wall and a low central rise. To the north of Diophantus is the sinuous rille designated Rima Diophantus, named after the crater. There is a tiny craterlet near the exterior of the southwest wall.
Rima Diophantus
This cleft follows a generally east–west path across the Mare Imbrium. It is centered at selenographic coordinates 31.0° N, 32.0° W, and has a maximum diameter of 150 km. Several tiny craters near this rille have been assigned names by the IAU. These are listed in the table below.
The crater Samir has bright rays that extend for over 70 km.
Satellite craters
By convention these features are identified on lunar maps by placing the letter on the side of the crater midpoint that is closest to Diophantus.
The following craters have been renamed by the IAU.
References
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Diophantus_(crater)
List of Hellsing characters
Hellsing is a manga series created by Kouta Hirano about a powerful vampire named Alucard and his battle against supernatural forces in service of the Hellsing Organization. The manga has two animated adaptations—a television series by Gonzo which was produced early in the manga's original run and features a largely original screenplay by Chiaki J. Konaka; and Hellsing Ultimate, an original video animation series produced by Geneon that more closely follows the plot of the manga. The series primarily takes place in the United Kingdom, which is under attack by the undead forces of a rogue Nazi battalion which survived the end of World War II.
The Hellsing Organization is a clandestine British royal order charged with defending the empire from supernatural threats. Sir Integra Hellsing serves as its leader and commands a blood pact with Alucard, Hellsing's most powerful weapon. Alucard is an ancient vampire who was pressed into service by Integra's ancestor, Abraham Van Helsing, who founded the order. Alucard is accompanied by Seras Victoria, a young vampire whom Alucard turns at the beginning of the series. Hellsing is opposed by Millennium, a remnant of the Waffen-SS which escaped to South America with its research into vampires and the occult. The war-obsessed Major leads Millennium's army of artificially created vampires in an assault on London. Between the two powers is Vatican Section XIII, the Iscariot Organization, a secret Catholic order of assassins which also specializes in combating the supernatural. Enrico Maxwell is its leader and Alexander Anderson, a paladin with accelerated healing, is its strongest asset.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/List_of_Hellsing_characters
Haggar, Walter Filmography
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1908, role: actor , character name: William Corder
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1908, role: actor , character name: Dick the Kisser
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1905, role: actor , character name: Charles Peace
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1903, role: actor , character name: First Gamekeeper
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1903, role: actor , character name: Weary Willie
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1903, role: actor , character name: Weary Willie
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1903, role: actor , character name: Weary Willie
Podcasts:
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The Life of Charles Peace (1905)
More rare films here: https://filmsbytheyear.com/chronological-list-of-films/ Join the Films by the Year Facebook group: https://www.facebook.com/groups/filmsbytheyear/ https://www.imdb.com/title/tt0000520/?ref_=fn_al_tt_1 Director: William Haggar Cast: Walter Haggar, Violet Haggar, Lily Haggar Production Co: William Haggar and Sons Country: UK
published: 28 Nov 2018 -
William Haggar - Desperate Poaching Affray (1903)
Three hunters surprise two poachers in the act. The hunters take umbrage and give chase over fences and through fields. The hunters fire away, but the poachers have guns as well, and a fight ensues with casualties for the hunters. Cast Sid Griffiths ... Second Poacher Will Haggar Jr. ... First Poacher Walter Haggar ... First Gamekeeper Directed by William Haggar Details Country UK Release Date: July, 1903 Production Co: William Haggar And Sons --------------------------------------------------------------------------------
published: 19 Aug 2015 -
LBJ: The Last Interview (1973)
In an interview filmed ten days before his death, former President Lyndon B. Johnson discusses with Walter Cronkite his commitment to civil rights and his achievements in this area: the Civil Rights Act of 1964, the Voting Rights Act of 1965, and the Equal Housing Law of 1968 originally shared on the Internet archive. I do not own the rights ##### Reelblack's mission is to educate, elevate, entertain, enlighten, and empower through Black film. If there is content shared on this platform that you feel infringes on your intellectual property, please email me at Reelblack@mail.com and info@reelblack.com with details and it will be promptly removed.
published: 21 Sep 2018 -
Walter Murch - Movies sound better in colour (40/320)
To listen to more of Walter Murch’s stories, go to the playlist: https://www.youtube.com/playlist?list=PLVV0r6CmEsFzCodipONmNiROhYCUWyz_U Walter Scott Murch (b. 1943) is widely recognised as one of the leading authorities in the field of film editing, as well as one of the few film editors equally active in both picture and sound. [Listener: Christopher Sykes] TRANSCRIPT: When we were mixing 'The Godfather', we were mixing in Los Angeles to a black and white print. So it wasn't video, but it was still black and white, and it was still a dupe, meaning a generational loss. Like a bad Xerox version of the film. And this was fine for doing the mixing, but a version of that same problem was present in any of this technology of the time. And the question comes, when do we show it to the produ...
published: 13 Sep 2017 -
Walter Murch - This is one of those moments': Bob Evans approves our work (47/320)
To listen to more of Walter Murch’s stories, go to the playlist: https://www.youtube.com/playlist?list=PLVV0r6CmEsFzCodipONmNiROhYCUWyz_U Walter Scott Murch (b. 1943) is widely recognised as one of the leading authorities in the field of film editing, as well as one of the few film editors equally active in both picture and sound. [Listener: Christopher Sykes] TRANSCRIPT: This was an unusual thing to do, to screw around with music like this, but we were in a desperate situation so that's what I did. And we... I took it into the mixing theatre, and we mixed it that way, and then called Bob Evans and said, 'Come down and listen to this cue.' So he came, and everyone... I knew it was going to work, but everyone else was, like, what's he going to say? And so he came in very impatiently, and...
published: 13 Sep 2017 -
Walter Murch - 'The Rain People' (25/320)
To listen to more of Walter Murch’s stories, go to the playlist: https://www.youtube.com/playlist?list=PLVV0r6CmEsFzCodipONmNiROhYCUWyz_U Walter Scott Murch (b. 1943) is widely recognised as one of the leading authorities in the field of film editing, as well as one of the few film editors equally active in both picture and sound. [Listener: Christopher Sykes] TRANSCRIPT: The following year, Francis had written a screenplay for the film 'The Rain People', which was an original screenplay about a wife coming to terms with a pregnancy that she did not really want. She wasn't ready to have a kid yet and so she travels. She gets in her car and travels across country with this baby inside her and along the way, she picks up a hitchhiker. Shirley Knight played the mother, the wife and James C...
published: 13 Sep 2017
developed with YouTube
14:26
The Life of Charles Peace (1905)
- Order: Reorder
- Duration: 14:26
- Uploaded Date: 28 Nov 2018
- views: 1561
More rare films here: https://filmsbytheyear.com/chronological-list-of-films/
Join the Films by the Year Facebook group: https://www.facebook.com/groups/filmsby...
More rare films here: https://filmsbytheyear.com/chronological-list-of-films/
Join the Films by the Year Facebook group: https://www.facebook.com/groups/filmsbytheyear/
https://www.imdb.com/title/tt0000520/?ref_=fn_al_tt_1
Director: William Haggar
Cast: Walter Haggar, Violet Haggar, Lily Haggar
Production Co: William Haggar and Sons
Country: UK
https://wn.com/The_Life_Of_Charles_Peace_(1905)
More rare films here: https://filmsbytheyear.com/chronological-list-of-films/
Join the Films by the Year Facebook group: https://www.facebook.com/groups/filmsbytheyear/
https://www.imdb.com/title/tt0000520/?ref_=fn_al_tt_1
Director: William Haggar
Cast: Walter Haggar, Violet Haggar, Lily Haggar
Production Co: William Haggar and Sons
Country: UK
- published: 28 Nov 2018
- views: 1561
2:38
William Haggar - Desperate Poaching Affray (1903)
- Order: Reorder
- Duration: 2:38
- Uploaded Date: 19 Aug 2015
- views: 324
Three hunters surprise two poachers in the act. The hunters take umbrage and give chase over fences and through fields. The hunters fire away, but the poachers ...
Three hunters surprise two poachers in the act. The hunters take umbrage and give chase over fences and through fields. The hunters fire away, but the poachers have guns as well, and a fight ensues with casualties for the hunters.
Cast
Sid Griffiths ... Second Poacher
Will Haggar Jr. ... First Poacher
Walter Haggar ... First Gamekeeper
Directed by William Haggar
Details
Country UK
Release Date: July, 1903
Production Co: William Haggar And Sons
--------------------------------------------------------------------------------
https://wn.com/William_Haggar_Desperate_Poaching_Affray_(1903)
Three hunters surprise two poachers in the act. The hunters take umbrage and give chase over fences and through fields. The hunters fire away, but the poachers have guns as well, and a fight ensues with casualties for the hunters.
Cast
Sid Griffiths ... Second Poacher
Will Haggar Jr. ... First Poacher
Walter Haggar ... First Gamekeeper
Directed by William Haggar
Details
Country UK
Release Date: July, 1903
Production Co: William Haggar And Sons
--------------------------------------------------------------------------------
- published: 19 Aug 2015
- views: 324
43:09
LBJ: The Last Interview (1973)
- Order: Reorder
- Duration: 43:09
- Uploaded Date: 21 Sep 2018
- views: 371227
In an interview filmed ten days before his death, former President Lyndon B. Johnson discusses with Walter Cronkite his commitment to civil rights and his achie...
In an interview filmed ten days before his death, former President Lyndon B. Johnson discusses with Walter Cronkite his commitment to civil rights and his achievements in this area: the Civil Rights Act of 1964, the Voting Rights Act of 1965, and the Equal Housing Law of 1968
originally shared on the Internet archive. I do not own the rights
#####
Reelblack's mission is to educate, elevate, entertain, enlighten, and empower through Black film. If there is content shared on this platform that you feel infringes on your intellectual property, please email me at Reelblack@mail.com and info@reelblack.com with details and it will be promptly removed.
https://wn.com/Lbj_The_Last_Interview_(1973)
In an interview filmed ten days before his death, former President Lyndon B. Johnson discusses with Walter Cronkite his commitment to civil rights and his achievements in this area: the Civil Rights Act of 1964, the Voting Rights Act of 1965, and the Equal Housing Law of 1968
originally shared on the Internet archive. I do not own the rights
#####
Reelblack's mission is to educate, elevate, entertain, enlighten, and empower through Black film. If there is content shared on this platform that you feel infringes on your intellectual property, please email me at Reelblack@mail.com and info@reelblack.com with details and it will be promptly removed.
- published: 21 Sep 2018
- views: 371227
3:01
Walter Murch - Movies sound better in colour (40/320)
- Order: Reorder
- Duration: 3:01
- Uploaded Date: 13 Sep 2017
- views: 492
To listen to more of Walter Murch’s stories, go to the playlist: https://www.youtube.com/playlist?list=PLVV0r6CmEsFzCodipONmNiROhYCUWyz_U
Walter Scott Murch (b...
To listen to more of Walter Murch’s stories, go to the playlist: https://www.youtube.com/playlist?list=PLVV0r6CmEsFzCodipONmNiROhYCUWyz_U
Walter Scott Murch (b. 1943) is widely recognised as one of the leading authorities in the field of film editing, as well as one of the few film editors equally active in both picture and sound. [Listener: Christopher Sykes]
TRANSCRIPT: When we were mixing 'The Godfather', we were mixing in Los Angeles to a black and white print. So it wasn't video, but it was still black and white, and it was still a dupe, meaning a generational loss. Like a bad Xerox version of the film. And this was fine for doing the mixing, but a version of that same problem was present in any of this technology of the time. And the question comes, when do we show it to the producers? Meaning, the head of the studio, Bob Evans, when do we show this? 'We're not going to show it to him', said Howard Beals, who was the head of the sound effects department at Paramount at the time. 'We're not going to show it to them until we have a colour answer print.' Why? 'Because it will sound better when it's in colour.' Why? And he came up with a fantastically accurate emotional answer to it, he said, 'It sounds better for the same reason your car drives better when it's clean.' So if you'd have the experience, which we all probably have had, of putting your car through a car wash and cleaning it and polishing it, and then you get in. It's exactly the same car, the motor and everything, but you drive off and somehow, it seems to be driving better.
It's... When the picture is low in quality, again, more of your mind is able to pay conscious attention to the sound and you are aware of, inevitably, the technical problems that still remain that you haven't found a solution to. When it's in colour, there's this blooming of the brain. It now has more to deal with in colour, and less brain to deal with the problems, the fact that the equalisation wasn't exactly right there, or we still hear the click of the cut from one scene to another. Whatever they might be, these minor imperfections suddenly seem to go away. They haven't gone away, they are still there technically, on the soundtrack, but your brain does not have the ability to pay conscious attention to them. And so they are pushed to one side as if they didn't exist in the first place. These are problems that have disappeared from our world, because we now... When we're doing postproduction, we are always looking at a very sharp colour image of whatever it is that we're working on. And the distinction between what we're looking at and what will finally be seen in the theatre is negligible.
https://wn.com/Walter_Murch_Movies_Sound_Better_In_Colour_(40_320)
To listen to more of Walter Murch’s stories, go to the playlist: https://www.youtube.com/playlist?list=PLVV0r6CmEsFzCodipONmNiROhYCUWyz_U
Walter Scott Murch (b. 1943) is widely recognised as one of the leading authorities in the field of film editing, as well as one of the few film editors equally active in both picture and sound. [Listener: Christopher Sykes]
TRANSCRIPT: When we were mixing 'The Godfather', we were mixing in Los Angeles to a black and white print. So it wasn't video, but it was still black and white, and it was still a dupe, meaning a generational loss. Like a bad Xerox version of the film. And this was fine for doing the mixing, but a version of that same problem was present in any of this technology of the time. And the question comes, when do we show it to the producers? Meaning, the head of the studio, Bob Evans, when do we show this? 'We're not going to show it to him', said Howard Beals, who was the head of the sound effects department at Paramount at the time. 'We're not going to show it to them until we have a colour answer print.' Why? 'Because it will sound better when it's in colour.' Why? And he came up with a fantastically accurate emotional answer to it, he said, 'It sounds better for the same reason your car drives better when it's clean.' So if you'd have the experience, which we all probably have had, of putting your car through a car wash and cleaning it and polishing it, and then you get in. It's exactly the same car, the motor and everything, but you drive off and somehow, it seems to be driving better.
It's... When the picture is low in quality, again, more of your mind is able to pay conscious attention to the sound and you are aware of, inevitably, the technical problems that still remain that you haven't found a solution to. When it's in colour, there's this blooming of the brain. It now has more to deal with in colour, and less brain to deal with the problems, the fact that the equalisation wasn't exactly right there, or we still hear the click of the cut from one scene to another. Whatever they might be, these minor imperfections suddenly seem to go away. They haven't gone away, they are still there technically, on the soundtrack, but your brain does not have the ability to pay conscious attention to them. And so they are pushed to one side as if they didn't exist in the first place. These are problems that have disappeared from our world, because we now... When we're doing postproduction, we are always looking at a very sharp colour image of whatever it is that we're working on. And the distinction between what we're looking at and what will finally be seen in the theatre is negligible.
- published: 13 Sep 2017
- views: 492
3:12
Walter Murch - This is one of those moments': Bob Evans approves our work (47/320)
- Order: Reorder
- Duration: 3:12
- Uploaded Date: 13 Sep 2017
- views: 328
To listen to more of Walter Murch’s stories, go to the playlist: https://www.youtube.com/playlist?list=PLVV0r6CmEsFzCodipONmNiROhYCUWyz_U
Walter Scott Murch (b...
To listen to more of Walter Murch’s stories, go to the playlist: https://www.youtube.com/playlist?list=PLVV0r6CmEsFzCodipONmNiROhYCUWyz_U
Walter Scott Murch (b. 1943) is widely recognised as one of the leading authorities in the field of film editing, as well as one of the few film editors equally active in both picture and sound. [Listener: Christopher Sykes]
TRANSCRIPT: This was an unusual thing to do, to screw around with music like this, but we were in a desperate situation so that's what I did. And we... I took it into the mixing theatre, and we mixed it that way, and then called Bob Evans and said, 'Come down and listen to this cue.' So he came, and everyone... I knew it was going to work, but everyone else was, like, what's he going to say? And so he came in very impatiently, and he had a bad back at that time so there was a hospital bed in the mixing room, and he would lie down on the bed. 'Okay, play it.' And we played the scene, and when the scene was over, he jumped out of bed, forgot about his bad back, and he said, 'Fantastic. Give me a telephone.' So we gave him a telephone with a long cord on it, and he started to... 'Go back to the head of the scene', and he started dialling the phone, and walked up to the screen, and turned around and said, 'Roll it.' And he got... On the other end of the phone was Charlie Bluhdorn, who was the head of Gulf and Western, which was the parent corporation that then owned Paramount. And he said, 'Charlie, listen to this', and he held the telephone up to the screen, and we ran the scene. And I was sitting in the back with Dick Portman, the lead mixer on the film, and we looked at each other as if to say, 'This is one of those moments.' Because here is the head of the studio holding a telephone up to the screen, and his shadow is being cast on the screen. And what's on the screen is the fictional head of a studio who is pulling back the sheets, revealing more and more blood, and then this actual decapitated horse's head that has been put inside his bed. And the scene is over, and he talks to Bluhdorn, 'Yes, it's fantastic, okay, great. You know, click.' And then, 'Great work, keep up the good work.' And he leaves, and we never hear from Bob Evans again.
So somehow, that scene satisfied him that it was going to be okay, whatever the problem was. And we just continued to mix the film the way we had wanted to do it in the first place. But that image is still imprinted on my retina somewhere, of this guy holding a telephone up to the screen, with the horse's head playing in the background. I can't imagine what it sounded like to Charlie Bluhdorn at the other end, because you know, what would it sound like, going over the telephone line, without the picture? But the net result was all good as far as we were concerned.
https://wn.com/Walter_Murch_This_Is_One_Of_Those_Moments'_Bob_Evans_Approves_Our_Work_(47_320)
To listen to more of Walter Murch’s stories, go to the playlist: https://www.youtube.com/playlist?list=PLVV0r6CmEsFzCodipONmNiROhYCUWyz_U
Walter Scott Murch (b. 1943) is widely recognised as one of the leading authorities in the field of film editing, as well as one of the few film editors equally active in both picture and sound. [Listener: Christopher Sykes]
TRANSCRIPT: This was an unusual thing to do, to screw around with music like this, but we were in a desperate situation so that's what I did. And we... I took it into the mixing theatre, and we mixed it that way, and then called Bob Evans and said, 'Come down and listen to this cue.' So he came, and everyone... I knew it was going to work, but everyone else was, like, what's he going to say? And so he came in very impatiently, and he had a bad back at that time so there was a hospital bed in the mixing room, and he would lie down on the bed. 'Okay, play it.' And we played the scene, and when the scene was over, he jumped out of bed, forgot about his bad back, and he said, 'Fantastic. Give me a telephone.' So we gave him a telephone with a long cord on it, and he started to... 'Go back to the head of the scene', and he started dialling the phone, and walked up to the screen, and turned around and said, 'Roll it.' And he got... On the other end of the phone was Charlie Bluhdorn, who was the head of Gulf and Western, which was the parent corporation that then owned Paramount. And he said, 'Charlie, listen to this', and he held the telephone up to the screen, and we ran the scene. And I was sitting in the back with Dick Portman, the lead mixer on the film, and we looked at each other as if to say, 'This is one of those moments.' Because here is the head of the studio holding a telephone up to the screen, and his shadow is being cast on the screen. And what's on the screen is the fictional head of a studio who is pulling back the sheets, revealing more and more blood, and then this actual decapitated horse's head that has been put inside his bed. And the scene is over, and he talks to Bluhdorn, 'Yes, it's fantastic, okay, great. You know, click.' And then, 'Great work, keep up the good work.' And he leaves, and we never hear from Bob Evans again.
So somehow, that scene satisfied him that it was going to be okay, whatever the problem was. And we just continued to mix the film the way we had wanted to do it in the first place. But that image is still imprinted on my retina somewhere, of this guy holding a telephone up to the screen, with the horse's head playing in the background. I can't imagine what it sounded like to Charlie Bluhdorn at the other end, because you know, what would it sound like, going over the telephone line, without the picture? But the net result was all good as far as we were concerned.
- published: 13 Sep 2017
- views: 328
1:40
Walter Murch - 'The Rain People' (25/320)
- Order: Reorder
- Duration: 1:40
- Uploaded Date: 13 Sep 2017
- views: 464
To listen to more of Walter Murch’s stories, go to the playlist: https://www.youtube.com/playlist?list=PLVV0r6CmEsFzCodipONmNiROhYCUWyz_U
Walter Scott Murch (b...
To listen to more of Walter Murch’s stories, go to the playlist: https://www.youtube.com/playlist?list=PLVV0r6CmEsFzCodipONmNiROhYCUWyz_U
Walter Scott Murch (b. 1943) is widely recognised as one of the leading authorities in the field of film editing, as well as one of the few film editors equally active in both picture and sound. [Listener: Christopher Sykes]
TRANSCRIPT: The following year, Francis had written a screenplay for the film 'The Rain People', which was an original screenplay about a wife coming to terms with a pregnancy that she did not really want. She wasn't ready to have a kid yet and so she travels. She gets in her car and travels across country with this baby inside her and along the way, she picks up a hitchhiker. Shirley Knight played the mother, the wife and James Caan played the hitchhiker and they travel across the country. She flirts with him but it turns out he's brain damaged because of a football accident. And the subtext of the film is that this brain damaged college student that she's carrying with her becomes the proxy for the child that she's carrying in her womb. And one thing leads to another and Robert Duvall enters the picture as a policeman and the football player in the end gets killed trying to protect her from this policeman who gets angry about something when... I forget the particular details of it but it's a kind of domestic tragedy. It ends with her holding this dead baby, this football player and promising to do right by him and you never know what her final decision is, relative to her own pregnancy.
https://wn.com/Walter_Murch_'The_Rain_People'_(25_320)
To listen to more of Walter Murch’s stories, go to the playlist: https://www.youtube.com/playlist?list=PLVV0r6CmEsFzCodipONmNiROhYCUWyz_U
Walter Scott Murch (b. 1943) is widely recognised as one of the leading authorities in the field of film editing, as well as one of the few film editors equally active in both picture and sound. [Listener: Christopher Sykes]
TRANSCRIPT: The following year, Francis had written a screenplay for the film 'The Rain People', which was an original screenplay about a wife coming to terms with a pregnancy that she did not really want. She wasn't ready to have a kid yet and so she travels. She gets in her car and travels across country with this baby inside her and along the way, she picks up a hitchhiker. Shirley Knight played the mother, the wife and James Caan played the hitchhiker and they travel across the country. She flirts with him but it turns out he's brain damaged because of a football accident. And the subtext of the film is that this brain damaged college student that she's carrying with her becomes the proxy for the child that she's carrying in her womb. And one thing leads to another and Robert Duvall enters the picture as a policeman and the football player in the end gets killed trying to protect her from this policeman who gets angry about something when... I forget the particular details of it but it's a kind of domestic tragedy. It ends with her holding this dead baby, this football player and promising to do right by him and you never know what her final decision is, relative to her own pregnancy.
- published: 13 Sep 2017
- views: 464
14:26
The Life of Charles Peace (1905)
More rare films here: https://filmsbytheyear.com/chronological-list-of-films/
Join the Fil...
published: 28 Nov 2018
The Life of Charles Peace (1905)
The Life of Charles Peace (1905)
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- published: 28 Nov 2018
- views: 1561
More rare films here: https://filmsbytheyear.com/chronological-list-of-films/
Join the Films by the Year Facebook group: https://www.facebook.com/groups/filmsbytheyear/
https://www.imdb.com/title/tt0000520/?ref_=fn_al_tt_1
Director: William Haggar
Cast: Walter Haggar, Violet Haggar, Lily Haggar
Production Co: William Haggar and Sons
Country: UK
2:38
William Haggar - Desperate Poaching Affray (1903)
Three hunters surprise two poachers in the act. The hunters take umbrage and give chase ov...
published: 19 Aug 2015
William Haggar - Desperate Poaching Affray (1903)
William Haggar - Desperate Poaching Affray (1903)
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- published: 19 Aug 2015
- views: 324
Three hunters surprise two poachers in the act. The hunters take umbrage and give chase over fences and through fields. The hunters fire away, but the poachers have guns as well, and a fight ensues with casualties for the hunters.
Cast
Sid Griffiths ... Second Poacher
Will Haggar Jr. ... First Poacher
Walter Haggar ... First Gamekeeper
Directed by William Haggar
Details
Country UK
Release Date: July, 1903
Production Co: William Haggar And Sons
--------------------------------------------------------------------------------
43:09
LBJ: The Last Interview (1973)
In an interview filmed ten days before his death, former President Lyndon B. Johnson discu...
published: 21 Sep 2018
LBJ: The Last Interview (1973)
LBJ: The Last Interview (1973)
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- published: 21 Sep 2018
- views: 371227
In an interview filmed ten days before his death, former President Lyndon B. Johnson discusses with Walter Cronkite his commitment to civil rights and his achievements in this area: the Civil Rights Act of 1964, the Voting Rights Act of 1965, and the Equal Housing Law of 1968
originally shared on the Internet archive. I do not own the rights
#####
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3:01
Walter Murch - Movies sound better in colour (40/320)
To listen to more of Walter Murch’s stories, go to the playlist: https://www.youtube.com/p...
published: 13 Sep 2017
Walter Murch - Movies sound better in colour (40/320)
Walter Murch - Movies sound better in colour (40/320)
- Report rights infringement
- published: 13 Sep 2017
- views: 492
To listen to more of Walter Murch’s stories, go to the playlist: https://www.youtube.com/playlist?list=PLVV0r6CmEsFzCodipONmNiROhYCUWyz_U
Walter Scott Murch (b. 1943) is widely recognised as one of the leading authorities in the field of film editing, as well as one of the few film editors equally active in both picture and sound. [Listener: Christopher Sykes]
TRANSCRIPT: When we were mixing 'The Godfather', we were mixing in Los Angeles to a black and white print. So it wasn't video, but it was still black and white, and it was still a dupe, meaning a generational loss. Like a bad Xerox version of the film. And this was fine for doing the mixing, but a version of that same problem was present in any of this technology of the time. And the question comes, when do we show it to the producers? Meaning, the head of the studio, Bob Evans, when do we show this? 'We're not going to show it to him', said Howard Beals, who was the head of the sound effects department at Paramount at the time. 'We're not going to show it to them until we have a colour answer print.' Why? 'Because it will sound better when it's in colour.' Why? And he came up with a fantastically accurate emotional answer to it, he said, 'It sounds better for the same reason your car drives better when it's clean.' So if you'd have the experience, which we all probably have had, of putting your car through a car wash and cleaning it and polishing it, and then you get in. It's exactly the same car, the motor and everything, but you drive off and somehow, it seems to be driving better.
It's... When the picture is low in quality, again, more of your mind is able to pay conscious attention to the sound and you are aware of, inevitably, the technical problems that still remain that you haven't found a solution to. When it's in colour, there's this blooming of the brain. It now has more to deal with in colour, and less brain to deal with the problems, the fact that the equalisation wasn't exactly right there, or we still hear the click of the cut from one scene to another. Whatever they might be, these minor imperfections suddenly seem to go away. They haven't gone away, they are still there technically, on the soundtrack, but your brain does not have the ability to pay conscious attention to them. And so they are pushed to one side as if they didn't exist in the first place. These are problems that have disappeared from our world, because we now... When we're doing postproduction, we are always looking at a very sharp colour image of whatever it is that we're working on. And the distinction between what we're looking at and what will finally be seen in the theatre is negligible.
3:12
Walter Murch - This is one of those moments': Bob Evans approves our work (47/320)
To listen to more of Walter Murch’s stories, go to the playlist: https://www.youtube.com/p...
published: 13 Sep 2017
Walter Murch - This is one of those moments': Bob Evans approves our work (47/320)
Walter Murch - This is one of those moments': Bob Evans approves our work (47/320)
- Report rights infringement
- published: 13 Sep 2017
- views: 328
To listen to more of Walter Murch’s stories, go to the playlist: https://www.youtube.com/playlist?list=PLVV0r6CmEsFzCodipONmNiROhYCUWyz_U
Walter Scott Murch (b. 1943) is widely recognised as one of the leading authorities in the field of film editing, as well as one of the few film editors equally active in both picture and sound. [Listener: Christopher Sykes]
TRANSCRIPT: This was an unusual thing to do, to screw around with music like this, but we were in a desperate situation so that's what I did. And we... I took it into the mixing theatre, and we mixed it that way, and then called Bob Evans and said, 'Come down and listen to this cue.' So he came, and everyone... I knew it was going to work, but everyone else was, like, what's he going to say? And so he came in very impatiently, and he had a bad back at that time so there was a hospital bed in the mixing room, and he would lie down on the bed. 'Okay, play it.' And we played the scene, and when the scene was over, he jumped out of bed, forgot about his bad back, and he said, 'Fantastic. Give me a telephone.' So we gave him a telephone with a long cord on it, and he started to... 'Go back to the head of the scene', and he started dialling the phone, and walked up to the screen, and turned around and said, 'Roll it.' And he got... On the other end of the phone was Charlie Bluhdorn, who was the head of Gulf and Western, which was the parent corporation that then owned Paramount. And he said, 'Charlie, listen to this', and he held the telephone up to the screen, and we ran the scene. And I was sitting in the back with Dick Portman, the lead mixer on the film, and we looked at each other as if to say, 'This is one of those moments.' Because here is the head of the studio holding a telephone up to the screen, and his shadow is being cast on the screen. And what's on the screen is the fictional head of a studio who is pulling back the sheets, revealing more and more blood, and then this actual decapitated horse's head that has been put inside his bed. And the scene is over, and he talks to Bluhdorn, 'Yes, it's fantastic, okay, great. You know, click.' And then, 'Great work, keep up the good work.' And he leaves, and we never hear from Bob Evans again.
So somehow, that scene satisfied him that it was going to be okay, whatever the problem was. And we just continued to mix the film the way we had wanted to do it in the first place. But that image is still imprinted on my retina somewhere, of this guy holding a telephone up to the screen, with the horse's head playing in the background. I can't imagine what it sounded like to Charlie Bluhdorn at the other end, because you know, what would it sound like, going over the telephone line, without the picture? But the net result was all good as far as we were concerned.
1:40
Walter Murch - 'The Rain People' (25/320)
To listen to more of Walter Murch’s stories, go to the playlist: https://www.youtube.com/p...
published: 13 Sep 2017
Walter Murch - 'The Rain People' (25/320)
Walter Murch - 'The Rain People' (25/320)
- Report rights infringement
- published: 13 Sep 2017
- views: 464
To listen to more of Walter Murch’s stories, go to the playlist: https://www.youtube.com/playlist?list=PLVV0r6CmEsFzCodipONmNiROhYCUWyz_U
Walter Scott Murch (b. 1943) is widely recognised as one of the leading authorities in the field of film editing, as well as one of the few film editors equally active in both picture and sound. [Listener: Christopher Sykes]
TRANSCRIPT: The following year, Francis had written a screenplay for the film 'The Rain People', which was an original screenplay about a wife coming to terms with a pregnancy that she did not really want. She wasn't ready to have a kid yet and so she travels. She gets in her car and travels across country with this baby inside her and along the way, she picks up a hitchhiker. Shirley Knight played the mother, the wife and James Caan played the hitchhiker and they travel across the country. She flirts with him but it turns out he's brain damaged because of a football accident. And the subtext of the film is that this brain damaged college student that she's carrying with her becomes the proxy for the child that she's carrying in her womb. And one thing leads to another and Robert Duvall enters the picture as a policeman and the football player in the end gets killed trying to protect her from this policeman who gets angry about something when... I forget the particular details of it but it's a kind of domestic tragedy. It ends with her holding this dead baby, this football player and promising to do right by him and you never know what her final decision is, relative to her own pregnancy.
Walter (archbishop of Sens)
Walter (or Vaulter) was Archbishop of Sens from 887 to 923.
He anointed Eudes as King of France in 888, Robert I in July 922, and Rudolph of France on 13 July 923, all in the church of St. Medard's Abbey, Soissons.
He doubtlessly inherited from his uncle Walter, Bishop of Orléans, a superb sacramentary composed between 855 and 873 for the Abbey of St-Amand at Puelle. This sacramentary, which he gave to the church of Sens, forms one of the most curious monuments of Carolingian art and is now in the library of Stockholm.
Sources
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Walter_(archbishop_of_Sens)
The Life of Charles Peace (1905)...
William Haggar - Desperate Poaching Affray (1903)...
LBJ: The Last Interview (1973)...
Walter Murch - Movies sound better in colour (40/3...
Walter Murch - This is one of those moments': Bob ...
Walter Murch - 'The Rain People' (25/320)...
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03 Apr 2022
Barbara Wann, 77, Walters, went to be with the Lord Jesus Christ on April 1, 2022 ... Patrick’s Catholic Church in Walters, officiated by Rev. John Paul Lewis with burial at the Walters Cemetery under the direction of Hart-Wyatt Funeral Home ... at the Hart-Wyatt Funeral Home Chapel in Walters. Barbara Lou Meyer was born on a farm east of Walters on Oct.
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The Lawton Constitution
17 Nov 2021
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The Lawton Constitution
04 May 2021
Shirley Smith
The Lawton Constitution
04 May 2021
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Sears store memories store well
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