I recognize many of the posters here from the Ziegfeld site, and thank you all for your enthusiastic comments. I had the great fortune of touring the Kings in the late 1980’s with a local Brooklyn historical group. Even in it’s then current state, I felt the potential of what this theatre could be.
Shortly afterward, when Disney took an interest in the New Amsterdam, which was in far worse shape, I developed hope, and closely followed it’s restoration over three to four years. I was there for its opening production of “King David,” which preceded the opening of “The Lion King” in 1997. As we all know, this led to the complete redevelopment of 42nd Street.
I revisited the New Amsterdam for “Mary Poppins” again just to be in that marvelous interior.
This is an exciting time.
May we all live and be well as we look forward to the resurrection of the Kings.
Here’s a thought, how about we all start e-mailing TCM that next year’s TCM Festival( assuming this will be ongoing )be in NYC. The Ziegfeld would have to be a venue, that is, the venue.
I’m going to the Hollywood Festival and intend to plant this idea in the ears of the TCM people, but I could use some help.
I just got back, and could not agree with Bill more. A very AMAZING evening. The Ziegfeld is such a wonderful venue for Classics, as I’ve implored everyone, and love to do it again, please e-mail Craig and let’s keep this going. A week of WSS and Funny Girl is just a teaser.
I caught the 4:30 “Shutter Island” yesterday at the Ziegfeld. I’m not here to review the movie ( which by the way, I liked). But just the experience of being there, from Leroy’s wonderful “Welcome to the Ziegfeld, remember that the best seat in the house is the one you’re sitting in” to the experience of actually sitting in that seat, reminded me of two quotes from Marcus Loew ( I had to look them up on IMDB):
“We sell tickets to theaters, not movies.”
“I long ago learned that success cannot be weighed by the money at one’s command. When you come down to the real facts I guess the most successful man is the one that has made the world a better place to live in and the people in it a little happier.”
We just had one week of Classics which I hope you enjoyed. If you’d like more, please post here or better yet e-mail Craig at
I did not take anything that you said personally, I hope that my response to you expressed that sentiment. My background in cinema and experience in speaking before audiences are both substantial and I have enough respect for myself to defend someone’s right to disagree.
This forum tends to become very lively and interesting when Classics are shown at the Ziegfeld, and, since the interest is there, can perhaps engender more Classic screenings.
So, I’m in favor of keeping what you started going. Even bad publicity is good.
With that said, you’ve already indicated, in criticizing my remarks that you’ve “never given an intro to a film nor expect to” and that you are “not qualified.”
So, how about, with some detail, telling us about some intros to Classic films that you’ve experienced which have been more to your liking and are not, as you say, “childish.”
Thanks for the picture, I watch “Splendor in the Grass,” for me, her greatest role, at least once a year. Takes place in pre-Depression Kansas, but was filmed in Staten Island, in an area, I understand, that has not changed much.
One thing I didn’t mention in my intro was that Elvis Presley was the first choice to play Tony, but his manager, Col.Tom Parker nixed it. We could have a whole discussion about that.
By the way I remember seeing “Funny Girl” in its first run at, I believe, Loew’s State, with a date that has the same last name as the girl I eventually did marry. Now that’s funny!!
I always appreciate feedback, and would be happy to answer all your questions. I have been introducing Classics at the Ziegfeld since 2006, and given this a public forum, have posted most, if not all of them, for the benefit of those who are unable to attend the screenings, as I did for WSS.
But before I go farther, since you consider my remarks so unprofessional and, as you described, “childish,” kindly post some of the introductions that you’ve given before an audience such as the Ziegfeld’s, and then we can let everyone decide.
Thank you for the kind words, they are very much appreciated. A couple, who had never seen the film at all, came over, afterwards, not only to thank me, but also to tell me how much they enjoyed the total experience even more than seeing the show recently in its current Broadway revival. We all know there is a “market” for seeing these Classics at the Ziegfeld. I hope it continues whenever it can continue, and it gives me a thrill to play whatever part I can in the whole experience.
Nice turnout, the print was good looking and stereo (I asked), enthusiastic group which really got into it. Many approached me asking if the Ziegfeld can do more of this.
Here’s my intro:
GOOD AFTERNOON:
“ARE YOU READY TO RUMBLE?â€
I AM SO HAPPY TO SEE SUCH A GREAT TURNOUT FOR A FIFTY YEAR OLD FILM. ALL I CAN SAY ISâ€"“I FEEL PRETTY.â€
IT’S MY PLEASURE TO WELCOME YOU TO THE QUINTESSENTIAL NEW YORK MOVIE, FILMED IN NEW YORK (WELL, PARTLY IN THE REAL NY AND PARTLY IN THE HOLLYWOOD NY), AND NOW SEEING IT, AS IT WAS MEANT TO BE SEEN, IN THE GREATEST NY VENUE TODAY, OUR GLORIOUS ZIEGFELD, ON ITS BIG SCREEN.
FOUR YEARS AGO, I STARTED INTRODUCING THESE CLASSICS HERE WITH “CLOSE ENCOUNTERS OF THE THIRD KIND.†MY FAVORITE LINE FROM THAT FILM DESERVES TO BE REPEATED TODAY. JUST AS RICHARD DREYFUSS IS ABOUT TO EMBARK ON THE OUTER SPACE ADVENTURE OF A LIFETIME, THE FRENCH SCIENTIST, FRANCOIS TRUFFAUT, TELLS HIM, “I ENVY YOU.â€
IF THIS IS YOUR FIRST TIME SEEING WSS ON THE BIG SCREEN, OR EVEN SEEING IT AT ALL, I TRULY ENVY YOU, THIS IS SOMETHING BEYOND SPECIAL.
WHAT CAN I ADD TO YOUR EXPERIENCE BEYOND THE BRILLIANT CHOREOGRAPHY OF JEROME ROBBINS, THE INTENSE OSCAR-WINNING PERFORMANCES OF BERNARDO AND ANITA, THE PULSING MUSIC OF BERNSTEIN AND SONDHEIM, AND, OF COURSE, THE TRAGIC WONDERFUL STORY OF TONY AND MARIA. EVEN, THE CREDITS, AT THE END, ARE SO IMAGINATIVE, YOU SHOULD DEFINITELY STAY FOR THEM.
WELL, WHAT I CAN ADD IS NATALIE WOOD, WHO ABSOLUTELY NEVER GETS HER RECOGNITION FOR THIS MOVIE. NATALIE WAS NOT JUST A PRETTY FACE, SHE COULD REALLY ACT. SHE WILL ALWAYS BE JUDY WITH JAMES DEAN IN “REBEL,†DEANNIE WITH WARREN BEATTY IN “SPLENDOR,†ANGIE WITH STEVE McQUEEN IN “LOVE WITH THE PROPER STRANGER‗-ALL THREE ROLES WERE OSCAR NOMINATED. AND SHE WILL ALWAYS BE MARIA.
SURE RITA MORENO STEALS THE FILM, BUT NATALIE IS NO SLOUCH…. YOU LOVERS OUT THERE, JUST LOOK AT THAT BALCONY SCENE ON THE FIRE ESCAPE, FOR “TONIGHT, TONIGHT WON’T BE JUST ANY NIGHTâ€
ENJOY, THANKS FOR COMING, AND HAPPY VALENTINE’S DAY.
NOW, LET’S HEAR THOSE WHISTLES!!!!!!!!!!!!!!!!!
Thanks to all,
“Shutter Island” looks great
Hopefully more Classics
I’m a little confused here. Wise’s directions say to start opening the curtains slowly at the first whistle (12 ½ feet) and have them completely open by 28 feet (when the overture design starts). Am I reading this correctly?
Just to clarify, the reason I called the Ziegfeld was just to clarify that they knew I was coming on Saturday instead of the original plan for Friday. This new manager, William, at least new to me, was very cordial and assured me that he knew all about me, although we had never met, and about the change in plans. But he did most of the talking giving me the implicit sense that he was fully aware of presentation issues, and he brought up the curtains, not me. I felt very good about that.
It’s 5:30 in the morning as I’m reading this—you did Robert Wise proud, and I’m sure you have a great feeling about that. I always believe that one person can make a difference. I copied all of those instructions from the booklet that comes with the “deluxe” DVD set of WSS, which every fan should have, great extras including a fabulous documentary and clips of Natalie during her own singing which was the original intention.
It took a long time to copy those instructions, I’m not a great typist, but now I’m really glad I did it. I saw a new 35 mm print at the Walter Reade last August which was great, maybe they couldn’t get that one, but the flip side is that however nice the Walter Reade is,it ain’t the Ziegfeld, and I’m getting the goosebumps just anticipating this afternoon.
I want to add for everyone, that the Museum of the Moving Image will be reopening this fall. I had the distinct pleasure of being allowed to participate in a behind the scenes “hardhat” tour of the the construction site last Saturday with the Museum director, staff and architects. As the Ziegfeldman, I am telling everybody that this will be the finest and greatest institution of its kind not only in the US, but in the world. And it’s right in our backyard in Queens. It deserves our support-I’ve been a member since it opened in 1988. They run continuous fabulous programs and will reopen with a Renais retrospective that the French government is saving exclusively for them. I can’t say enough, but I’ll stop here.
Here are the official instructions given by Robert Wise to theatre owners and management:
WEST SIDE STORY
PRESENTATION
“ Although you will undoubtedly have your own rehearsals with the picture before your first public showing, the following procedure has been found most ideal for the presentation of the picture and should be followed as closely as possible.
A special design has been created for the beginning of the picture over which the overture is played.
It is of vital importance that the first 4 ½ minutes of this design be projected with the house lights lowered by only 25%.
For the proper presentation, please follow these directions:
From the start mark, the first 28 feet of the reel is black. Over this, from the surround horns only, comes the sound of three separate whistles.
The first whistle starts at12 ½ feet At this point the curtains should be opened slowly, and the house lights lowered by 25%. Since the time required for opening the curtains varies from theatre to theatre, it must be timed so that these operations are completed by the time the overture design fades in at 28 feet.
NOTE: If any of the house lights are directed on the screen, it is necessary that these lights go out completely by 28 feet or they will wash out the design when it is projected on the screen.
At 414 feet from the start mark, when the red color dissolves to the blue, the house lights should be dimmed completely or to the level at which the picture will play. This operation must be completed by the time the title WEST SIDE STORY starts to appear on the screen.
It is important that the opening is handled in this fashion. If it is not, if the house lights are dimmed all the way at the beginning, the audience will expect the picture to start much sooner then it does.
If the opening design is played with the house lights well up the audience will accept the music for what it is—the overture.
Please be good enough not to start closing the curtains with the appearance of “The End” title on the screen. There are still 5 minutes of end “credits” to be shown before the picture is completed."
Just spoke to the manager at the Ziegfeld, who should be on for WSS tomorrow. He told me the cutains will be used. Beyond that I didn’t get into specifics with him. At my age, I’m just glad to be here (LOL). Anyway, I think it’s one of the “12 steps” that says, “One is responsible for the effort and not the outcome.”
The Ziegfeldman (that’s me) is returning to introduce the evening performance of West Side Story on Friday Feb. 12. I recently saw (last August) a print at Lincoln Center, which looked fabulous and Eliot Feld ( Baby John ) was there to tell some cool stories.
Greetings to all:
I recognize many of the posters here from the Ziegfeld site, and thank you all for your enthusiastic comments. I had the great fortune of touring the Kings in the late 1980’s with a local Brooklyn historical group. Even in it’s then current state, I felt the potential of what this theatre could be.
Shortly afterward, when Disney took an interest in the New Amsterdam, which was in far worse shape, I developed hope, and closely followed it’s restoration over three to four years. I was there for its opening production of “King David,” which preceded the opening of “The Lion King” in 1997. As we all know, this led to the complete redevelopment of 42nd Street.
I revisited the New Amsterdam for “Mary Poppins” again just to be in that marvelous interior.
This is an exciting time.
May we all live and be well as we look forward to the resurrection of the Kings.
Thank you,
Gary
Here’s a thought, how about we all start e-mailing TCM that next year’s TCM Festival( assuming this will be ongoing )be in NYC. The Ziegfeld would have to be a venue, that is, the venue.
I’m going to the Hollywood Festival and intend to plant this idea in the ears of the TCM people, but I could use some help.
Best,
Gary
Hi All:
I just got back, and could not agree with Bill more. A very AMAZING evening. The Ziegfeld is such a wonderful venue for Classics, as I’ve implored everyone, and love to do it again, please e-mail Craig and let’s keep this going. A week of WSS and Funny Girl is just a teaser.
Best,
Gary
FYI:
http://www.in70mm.com/news/2010/wss/index.htm
Now, how about a fiftieth anniversary screening with full restoration at the Ziegfeld???
Best,
Gary
Hi Everyone:
I caught the 4:30 “Shutter Island” yesterday at the Ziegfeld. I’m not here to review the movie ( which by the way, I liked). But just the experience of being there, from Leroy’s wonderful “Welcome to the Ziegfeld, remember that the best seat in the house is the one you’re sitting in” to the experience of actually sitting in that seat, reminded me of two quotes from Marcus Loew ( I had to look them up on IMDB):
“We sell tickets to theaters, not movies.”
“I long ago learned that success cannot be weighed by the money at one’s command. When you come down to the real facts I guess the most successful man is the one that has made the world a better place to live in and the people in it a little happier.”
We just had one week of Classics which I hope you enjoyed. If you’d like more, please post here or better yet e-mail Craig at
Thanks,
and Best,
Gary
Ah, so it must have been the Criterion—I remembered the girl, but not the theatre!!
Thanks, William
Best,
Gary
AGR:
I did not take anything that you said personally, I hope that my response to you expressed that sentiment. My background in cinema and experience in speaking before audiences are both substantial and I have enough respect for myself to defend someone’s right to disagree.
This forum tends to become very lively and interesting when Classics are shown at the Ziegfeld, and, since the interest is there, can perhaps engender more Classic screenings.
So, I’m in favor of keeping what you started going. Even bad publicity is good.
With that said, you’ve already indicated, in criticizing my remarks that you’ve “never given an intro to a film nor expect to” and that you are “not qualified.”
So, how about, with some detail, telling us about some intros to Classic films that you’ve experienced which have been more to your liking and are not, as you say, “childish.”
Best,
Gary
By the way,
I’ll be at the 4:30 “Shutter Island” on Friday (not introducing it)\
Anyone else going??
Best,
Gary
Hi Bill:
Thanks for the picture, I watch “Splendor in the Grass,” for me, her greatest role, at least once a year. Takes place in pre-Depression Kansas, but was filmed in Staten Island, in an area, I understand, that has not changed much.
One thing I didn’t mention in my intro was that Elvis Presley was the first choice to play Tony, but his manager, Col.Tom Parker nixed it. We could have a whole discussion about that.
By the way I remember seeing “Funny Girl” in its first run at, I believe, Loew’s State, with a date that has the same last name as the girl I eventually did marry. Now that’s funny!!
Best,
Gary
Ian:
I think your best bet is contacting the National Media Museum in Bradford, U.K
http://www.nationalmediamuseum.org.uk/
A place that I would love to visit!!!
Best,
Gary
Dear AGR:
I always appreciate feedback, and would be happy to answer all your questions. I have been introducing Classics at the Ziegfeld since 2006, and given this a public forum, have posted most, if not all of them, for the benefit of those who are unable to attend the screenings, as I did for WSS.
But before I go farther, since you consider my remarks so unprofessional and, as you described, “childish,” kindly post some of the introductions that you’ve given before an audience such as the Ziegfeld’s, and then we can let everyone decide.
Best,
Gary
Vito (and everyone):
Thank you for the kind words, they are very much appreciated. A couple, who had never seen the film at all, came over, afterwards, not only to thank me, but also to tell me how much they enjoyed the total experience even more than seeing the show recently in its current Broadway revival. We all know there is a “market” for seeing these Classics at the Ziegfeld. I hope it continues whenever it can continue, and it gives me a thrill to play whatever part I can in the whole experience.
Thanks again
Best,
Gary
Nice turnout, the print was good looking and stereo (I asked), enthusiastic group which really got into it. Many approached me asking if the Ziegfeld can do more of this.
Here’s my intro:
GOOD AFTERNOON:
“ARE YOU READY TO RUMBLE?â€
I AM SO HAPPY TO SEE SUCH A GREAT TURNOUT FOR A FIFTY YEAR OLD FILM. ALL I CAN SAY ISâ€"“I FEEL PRETTY.â€
IT’S MY PLEASURE TO WELCOME YOU TO THE QUINTESSENTIAL NEW YORK MOVIE, FILMED IN NEW YORK (WELL, PARTLY IN THE REAL NY AND PARTLY IN THE HOLLYWOOD NY), AND NOW SEEING IT, AS IT WAS MEANT TO BE SEEN, IN THE GREATEST NY VENUE TODAY, OUR GLORIOUS ZIEGFELD, ON ITS BIG SCREEN.
FOUR YEARS AGO, I STARTED INTRODUCING THESE CLASSICS HERE WITH “CLOSE ENCOUNTERS OF THE THIRD KIND.†MY FAVORITE LINE FROM THAT FILM DESERVES TO BE REPEATED TODAY. JUST AS RICHARD DREYFUSS IS ABOUT TO EMBARK ON THE OUTER SPACE ADVENTURE OF A LIFETIME, THE FRENCH SCIENTIST, FRANCOIS TRUFFAUT, TELLS HIM, “I ENVY YOU.â€
IF THIS IS YOUR FIRST TIME SEEING WSS ON THE BIG SCREEN, OR EVEN SEEING IT AT ALL, I TRULY ENVY YOU, THIS IS SOMETHING BEYOND SPECIAL.
WHAT CAN I ADD TO YOUR EXPERIENCE BEYOND THE BRILLIANT CHOREOGRAPHY OF JEROME ROBBINS, THE INTENSE OSCAR-WINNING PERFORMANCES OF BERNARDO AND ANITA, THE PULSING MUSIC OF BERNSTEIN AND SONDHEIM, AND, OF COURSE, THE TRAGIC WONDERFUL STORY OF TONY AND MARIA. EVEN, THE CREDITS, AT THE END, ARE SO IMAGINATIVE, YOU SHOULD DEFINITELY STAY FOR THEM.
WELL, WHAT I CAN ADD IS NATALIE WOOD, WHO ABSOLUTELY NEVER GETS HER RECOGNITION FOR THIS MOVIE. NATALIE WAS NOT JUST A PRETTY FACE, SHE COULD REALLY ACT. SHE WILL ALWAYS BE JUDY WITH JAMES DEAN IN “REBEL,†DEANNIE WITH WARREN BEATTY IN “SPLENDOR,†ANGIE WITH STEVE McQUEEN IN “LOVE WITH THE PROPER STRANGER‗-ALL THREE ROLES WERE OSCAR NOMINATED. AND SHE WILL ALWAYS BE MARIA.
SURE RITA MORENO STEALS THE FILM, BUT NATALIE IS NO SLOUCH…. YOU LOVERS OUT THERE, JUST LOOK AT THAT BALCONY SCENE ON THE FIRE ESCAPE, FOR “TONIGHT, TONIGHT WON’T BE JUST ANY NIGHTâ€
ENJOY, THANKS FOR COMING, AND HAPPY VALENTINE’S DAY.
NOW, LET’S HEAR THOSE WHISTLES!!!!!!!!!!!!!!!!!
Thanks to all,
“Shutter Island” looks great
Hopefully more Classics
Best,
Gary
Bill:
Many thanks, I’ll post my remarks later on.
Best,
Gary
Vito:
I’m a little confused here. Wise’s directions say to start opening the curtains slowly at the first whistle (12 ½ feet) and have them completely open by 28 feet (when the overture design starts). Am I reading this correctly?
Best,
Gary
Hi Vito:
Just to clarify, the reason I called the Ziegfeld was just to clarify that they knew I was coming on Saturday instead of the original plan for Friday. This new manager, William, at least new to me, was very cordial and assured me that he knew all about me, although we had never met, and about the change in plans. But he did most of the talking giving me the implicit sense that he was fully aware of presentation issues, and he brought up the curtains, not me. I felt very good about that.
Best,
Gary
Bill:
It’s 5:30 in the morning as I’m reading this—you did Robert Wise proud, and I’m sure you have a great feeling about that. I always believe that one person can make a difference. I copied all of those instructions from the booklet that comes with the “deluxe” DVD set of WSS, which every fan should have, great extras including a fabulous documentary and clips of Natalie during her own singing which was the original intention.
It took a long time to copy those instructions, I’m not a great typist, but now I’m really glad I did it. I saw a new 35 mm print at the Walter Reade last August which was great, maybe they couldn’t get that one, but the flip side is that however nice the Walter Reade is,it ain’t the Ziegfeld, and I’m getting the goosebumps just anticipating this afternoon.
I want to add for everyone, that the Museum of the Moving Image will be reopening this fall. I had the distinct pleasure of being allowed to participate in a behind the scenes “hardhat” tour of the the construction site last Saturday with the Museum director, staff and architects. As the Ziegfeldman, I am telling everybody that this will be the finest and greatest institution of its kind not only in the US, but in the world. And it’s right in our backyard in Queens. It deserves our support-I’ve been a member since it opened in 1988. They run continuous fabulous programs and will reopen with a Renais retrospective that the French government is saving exclusively for them. I can’t say enough, but I’ll stop here.
SOMETHING’S COMING, SOMETHING GOOD!!!!!!!!!!!
Best,
Gary
Bill:
The manager’s name is William. Print out the instructions and talk to him, just don’t mention my name.
Best,
Gary
Here are the official instructions given by Robert Wise to theatre owners and management:
WEST SIDE STORY
PRESENTATION
“ Although you will undoubtedly have your own rehearsals with the picture before your first public showing, the following procedure has been found most ideal for the presentation of the picture and should be followed as closely as possible.
A special design has been created for the beginning of the picture over which the overture is played.
It is of vital importance that the first 4 ½ minutes of this design be projected with the house lights lowered by only 25%.
For the proper presentation, please follow these directions:
The first whistle starts at12 ½ feet At this point the curtains should be opened slowly, and the house lights lowered by 25%. Since the time required for opening the curtains varies from theatre to theatre, it must be timed so that these operations are completed by the time the overture design fades in at 28 feet.
NOTE: If any of the house lights are directed on the screen, it is necessary that these lights go out completely by 28 feet or they will wash out the design when it is projected on the screen.
It is important that the opening is handled in this fashion. If it is not, if the house lights are dimmed all the way at the beginning, the audience will expect the picture to start much sooner then it does.
If the opening design is played with the house lights well up the audience will accept the music for what it is—the overture.
Please be good enough not to start closing the curtains with the appearance of “The End” title on the screen. There are still 5 minutes of end “credits” to be shown before the picture is completed."
Vito—now I think I have a headache…..
Best,
Gary
Heads Up:
Just spoke to the manager at the Ziegfeld, who should be on for WSS tomorrow. He told me the cutains will be used. Beyond that I didn’t get into specifics with him. At my age, I’m just glad to be here (LOL). Anyway, I think it’s one of the “12 steps” that says, “One is responsible for the effort and not the outcome.”
Vito, Bill, et al. I’m trying!!!
Best,
Gary
Hi Guys:
Vito, I know exactly what you’re talking about. I’ll try my best and appreciate tne input.
Best,
Gary
Hi Everyone:
My introduction to “West Side Story” has been moved to the following day, Saturday, February 13 at 4:30 PM.
HOPE TO SEE YOU THERE!
(AND WALK TALL—WE ALWAYS WALK TALL…….)
Best,
Gary
Hello Everyone:
The Ziegfeldman (that’s me) is returning to introduce the evening performance of West Side Story on Friday Feb. 12. I recently saw (last August) a print at Lincoln Center, which looked fabulous and Eliot Feld ( Baby John ) was there to tell some cool stories.
SO BUDDY BOYS, WE’RE GOING TO DO GOOD.
HOPE TO SEE YOU ALL THERE!!!!
Best,
Gary
Nothing yet, BUT don’t rule it out.
KEEP WATCHING THIS SPACE!!!!!!!!!!!
On that note, why not “Elmer Gantry”-a fabulous flick!!!
Best