Earlier posts about “Norh by Northwest” reminded me of the scene about two hours into the movie when Eva Marie pretends to shoot Gary Grant, there is a young boy extra sitting in the background who puts his fingers in his ears in anticipation of the gun shot. I wonder how Hitch felt about not having noticed that until it was to late.
Thank you Warren for that fantastic link. The photo of my beloved Paramount is a recent one, I drive by there all to often and shutter at the sight of the condition it is in now. If you ever come across any pre 1965 photos, I would love to see them.
Thanks for that info Rob, I had not known all all that came together, your posts are always so informative and educational, thanks! any more Preminger stories?
Vincent, of course you are right, it was Carousel, but didn’t Sinatra walk off for the same reasons? Carousel had to be shot twice, once in CinemaScope 55 and again in reg 35mm CinemaScope?
Perhaps Rob Endres knows the technical facts behind the CimemaScope reduction prints which apprentantly were not possible during that shooting. I am so happy to have been around to see both Oklahoma in Todd-Ao at the Rivoli and Carousel at the Roxy, although I believe Carousel was a 35mm reduction print.
Good notes Vincent, might I add that Frank Sinatra was originally signed on to play the lead but backed out when he heard everything had to be filmed twice, once in Todd-Ao and again in CinemaScope.
I understood that the production was not filmed simultaneously but each scene shot twice. The irony was, part way thru filming, reduction printing was improved and developed making filming the two versions unnecessary. Any idea if any of this is true? Thanks for the info on the DVD I will be looking for that.
I would like to second that, once again Rob Endres has brought us behind the scenes and shared the magic that was/is Radio City.
I never gave much thought to the massive undertaking it was to produce the shows, so much hard work and dedication is quite remarkable really. Thanks for sharing Rob!
What a great post Bill!
I wonder if REndres has any stories he may have heard of what had to have been a very busy night dressing the Great Stage between engagements.
I worked a lot of Century theatres in the 60s and 70s, they were in a class all their own. Century was at the top of the game then, they kept all the theatres in first rate condition. If you needed something, you got it nothing could be left in disrepair. I loved working the Baldwin but my favorite was a gem in the jewel box called Green Acres in Valley Stream. That was the top of the line for the Long Island theatres in it’s day. Projection was a top priority to Century, the projection equipment had to run perfectly.
As a projectionist if you missed a changeover or in any way caused a disruption in the performance , you were written up in a file kept in the District Managers ofice, I believe his name was Mr. Neuman
For as while, the union had to get his approval before awarding a projectionist with a job at a Century theatre. That policy ended in the 60s but you knew if you wanted a job at a Century theatre you had better know your stuff. Century had a great policy called Delux, which ment the curtains had to be closed and reopened before the feature. They also played the Star Spangeled Banner before the first show on many holidays. The last time I worked for Century was at the Five Towns in 1972 with a Roadshow engagement of “Fiddler on the Roof” playing day and date with the Syosset.
Aw Bill, let’s not forget “Dukes of Hazard”, a relative talked me into taking him to a Warners screening, makes “Island” look like “Gone With the Wind”,God awful movie. They just get worse and worse.
Wow what great memories Rob and Ron have stired up for me.
Rob I can only imagine how exciting it must have been to walk that catwalk, whew, that had to be fun!. I ran “Zhivago a few times and always wanted to try and time the curtains and lights to that great opening scene in act two. wherever I had manual control of the house and stage lights, it was a kick to gradually lower the lights at different intervels during the overture, gradually going to black. I would put "clicks” on the print by splicing a one sprocket wide piece of film over the frame line emulsion to celluloid, then when I heard the click I would lower the lights to the next desired level.
Of course after about the second or third week of a 52 week engagement, we did not need the clicks anymore, everyone could operate the lights by listining to the music. The lightining had to be timed to a point in the overture when the music changed, it was easy with say a “South Pacific” where you could lower them to the change of songs. A lot of planning went into the roadshow presentations, we didn’t just run the movie, we created a presentation, and like the time you tried to do “The Zhivago” it was a heck of a lot of fun was it not? People noticed, just ask Ron.
Wow what great memories Rob and Ron have stired up for me.
Rob I can only imagine how exciting it must have been to walk that catwalk, whew, that had to be fun!. I ran “Zhivago a few times and always wanted to try and time the curtains and lights to that great opening scene in act two. wherever I had manual control of the house and stage lights, it was a kick to gradually lower the lights at different intervels during the overture, gradually going to black. I would put "clicks” on the print by splicing a one sprocket wide piece of film over the frame line emulsion to celluloid, then when I heard the click I would lower the lights to the next desired level.
Of course after about the second or third week of a 52 week engagement, we did not need the clicks anymore, everyone could operate the lights by listining to the music. The lightining had to be timed to a point in the overture when the music changed, it was easy with say a “South Pacific” where you could lower them to the change of songs. A lot of planning went into the roadshow presentations, we didn’t just run the movie, we created a presentation, and like the time you tried to do “The Zhivago” it was a heck of a lot of fun was it not? People noticed, just ask Ron.
A post from REndres indicatd the removal or the traveler curtain a while back. I believe they needed the rig for scenery. They did not use it much, if at all, once the movies stopped. Rob, any comments?
The timing of the countour and travelor curtain was impecably timed to the last frame of the movie and last note of the end title score, which was blended perfectly to the start of the organist.
Ah, showmanship, an important aspect of the biz in my day, all but lost now.
I stand corrected “Guess Who” has already been released.
Talk about BEEN THERE, DONE THAT, I forgot to mention two I KNOW you can’t wait to see remade, At a Fox screning recently I was told about
“Porky’s” and “Revenge of the Nerds”. When I heard about those two remakes I thought, Oh yeah, the industry is getting desperate.
Haven’t been to the Jersey yet,I will when it reopens. Most of my earlier moving going experiences was in movie palaces. Funny, we took them for granted in those days, if I knew they were all going to disapear I would have savered them more.
Theaterat, there will be plenty for you to rant about with remakes.
Still to come in 05-06 are:
King Kong; Poseidon Adventure; Bullitt; The Munsters; Guess who’s coming to dinner; The Blob; The Birds; Bride Of Frankenstein;
The Incredible Shrinking Man and The Pink Panther (Steve Martin)
plus many more to numerous to mention. Most of the recent remakes, with the exception of “War of the Worlds”, have all done poorly at the box-office.
Good job Brucec, I know today’s miserable excuse for movies cannot compare to the great ones of years gone by, but to see all those magnificent films listed just about sums up what all of us true movie lovers have all come to agree upon, they sure don’t make em like they used to.
I hate to sound like an cranky old man, but I have to agree, most of todays movies are a bunch of noisy, effects driven garbage, void of story lines and charactor development. I am retired now with pass privliges to almost any theatre circuit, as well as being on the screening list for many studios, but I rarely go to the movies anymore. Where are the script writers with an intelligent story to tell?. I don’t mind a good special effects movie once in a while but how about including an interesting story to go along with the CGI and effects. When is the last time we had a comedy that was actually funny and not geared to the mind of a 13 year old. There i’ve said it, now I can go back to my rocking chair, continue to grow old and continue to feel bad about what has become of the business I dedicated my life to.
Vincent, I played “West Side Story” all over Long Island, New York in 1962-63 and can only recall one 70mm run, at the Syosset, which I believe was in the spring of 1962. All the other runs I did were 35mm. I don’t even recall any 35mm mag stereo prints only optical mono, mag prints were getting scarce by then.
Perhaps Michael Coate knows of some other 70mm runs im NY.
Thanks Bill, between shows we could see the crowds outside the theatre beginning to form for the big moment.When I try really hard I can still hear fanfare and great main title music in four track stereo. As Mr.Hope would say, “thanks for the memories”
Earlier posts about “Norh by Northwest” reminded me of the scene about two hours into the movie when Eva Marie pretends to shoot Gary Grant, there is a young boy extra sitting in the background who puts his fingers in his ears in anticipation of the gun shot. I wonder how Hitch felt about not having noticed that until it was to late.
Thank you Warren for that fantastic link. The photo of my beloved Paramount is a recent one, I drive by there all to often and shutter at the sight of the condition it is in now. If you ever come across any pre 1965 photos, I would love to see them.
Thanks for that info Rob, I had not known all all that came together, your posts are always so informative and educational, thanks! any more Preminger stories?
Vincent, of course you are right, it was Carousel, but didn’t Sinatra walk off for the same reasons? Carousel had to be shot twice, once in CinemaScope 55 and again in reg 35mm CinemaScope?
Perhaps Rob Endres knows the technical facts behind the CimemaScope reduction prints which apprentantly were not possible during that shooting. I am so happy to have been around to see both Oklahoma in Todd-Ao at the Rivoli and Carousel at the Roxy, although I believe Carousel was a 35mm reduction print.
Good notes Vincent, might I add that Frank Sinatra was originally signed on to play the lead but backed out when he heard everything had to be filmed twice, once in Todd-Ao and again in CinemaScope.
I understood that the production was not filmed simultaneously but each scene shot twice. The irony was, part way thru filming, reduction printing was improved and developed making filming the two versions unnecessary. Any idea if any of this is true? Thanks for the info on the DVD I will be looking for that.
I would like to second that, once again Rob Endres has brought us behind the scenes and shared the magic that was/is Radio City.
I never gave much thought to the massive undertaking it was to produce the shows, so much hard work and dedication is quite remarkable really. Thanks for sharing Rob!
A christmas movie in June, sometimes it’s true, as Angela as Mame sang: “we need a little Christmas”
What a great post Bill!
I wonder if REndres has any stories he may have heard of what had to have been a very busy night dressing the Great Stage between engagements.
Robert, that’s quite a trio of great theatres, I worked them all. Other than in Bellmore are there any single screen theatres left on L.I ?
I worked a lot of Century theatres in the 60s and 70s, they were in a class all their own. Century was at the top of the game then, they kept all the theatres in first rate condition. If you needed something, you got it nothing could be left in disrepair. I loved working the Baldwin but my favorite was a gem in the jewel box called Green Acres in Valley Stream. That was the top of the line for the Long Island theatres in it’s day. Projection was a top priority to Century, the projection equipment had to run perfectly.
As a projectionist if you missed a changeover or in any way caused a disruption in the performance , you were written up in a file kept in the District Managers ofice, I believe his name was Mr. Neuman
For as while, the union had to get his approval before awarding a projectionist with a job at a Century theatre. That policy ended in the 60s but you knew if you wanted a job at a Century theatre you had better know your stuff. Century had a great policy called Delux, which ment the curtains had to be closed and reopened before the feature. They also played the Star Spangeled Banner before the first show on many holidays. The last time I worked for Century was at the Five Towns in 1972 with a Roadshow engagement of “Fiddler on the Roof” playing day and date with the Syosset.
Aw Bill, let’s not forget “Dukes of Hazard”, a relative talked me into taking him to a Warners screening, makes “Island” look like “Gone With the Wind”,God awful movie. They just get worse and worse.
Yeah, like they need the time between shows to handle the crowds.
I never understood the small amount of showings per day at that theatre.
Thanks Gustavelifting.
Darn, does anyone know how to avoid those double posts?
Wow what great memories Rob and Ron have stired up for me.
Rob I can only imagine how exciting it must have been to walk that catwalk, whew, that had to be fun!. I ran “Zhivago a few times and always wanted to try and time the curtains and lights to that great opening scene in act two. wherever I had manual control of the house and stage lights, it was a kick to gradually lower the lights at different intervels during the overture, gradually going to black. I would put "clicks” on the print by splicing a one sprocket wide piece of film over the frame line emulsion to celluloid, then when I heard the click I would lower the lights to the next desired level.
Of course after about the second or third week of a 52 week engagement, we did not need the clicks anymore, everyone could operate the lights by listining to the music. The lightining had to be timed to a point in the overture when the music changed, it was easy with say a “South Pacific” where you could lower them to the change of songs. A lot of planning went into the roadshow presentations, we didn’t just run the movie, we created a presentation, and like the time you tried to do “The Zhivago” it was a heck of a lot of fun was it not? People noticed, just ask Ron.
Wow what great memories Rob and Ron have stired up for me.
Rob I can only imagine how exciting it must have been to walk that catwalk, whew, that had to be fun!. I ran “Zhivago a few times and always wanted to try and time the curtains and lights to that great opening scene in act two. wherever I had manual control of the house and stage lights, it was a kick to gradually lower the lights at different intervels during the overture, gradually going to black. I would put "clicks” on the print by splicing a one sprocket wide piece of film over the frame line emulsion to celluloid, then when I heard the click I would lower the lights to the next desired level.
Of course after about the second or third week of a 52 week engagement, we did not need the clicks anymore, everyone could operate the lights by listining to the music. The lightining had to be timed to a point in the overture when the music changed, it was easy with say a “South Pacific” where you could lower them to the change of songs. A lot of planning went into the roadshow presentations, we didn’t just run the movie, we created a presentation, and like the time you tried to do “The Zhivago” it was a heck of a lot of fun was it not? People noticed, just ask Ron.
A post from REndres indicatd the removal or the traveler curtain a while back. I believe they needed the rig for scenery. They did not use it much, if at all, once the movies stopped. Rob, any comments?
The timing of the countour and travelor curtain was impecably timed to the last frame of the movie and last note of the end title score, which was blended perfectly to the start of the organist.
Ah, showmanship, an important aspect of the biz in my day, all but lost now.
“The Island” will limp along till “The Great Raid” opens Aug 12th
myrtleave, Check back to Feb 8, 2005. there is an informative thread regarding Kiss Me Kate in 3-D at the hall by REndres
I stand corrected “Guess Who” has already been released.
Talk about BEEN THERE, DONE THAT, I forgot to mention two I KNOW you can’t wait to see remade, At a Fox screning recently I was told about
“Porky’s” and “Revenge of the Nerds”. When I heard about those two remakes I thought, Oh yeah, the industry is getting desperate.
Haven’t been to the Jersey yet,I will when it reopens. Most of my earlier moving going experiences was in movie palaces. Funny, we took them for granted in those days, if I knew they were all going to disapear I would have savered them more.
Theaterat, there will be plenty for you to rant about with remakes.
Still to come in 05-06 are:
King Kong; Poseidon Adventure; Bullitt; The Munsters; Guess who’s coming to dinner; The Blob; The Birds; Bride Of Frankenstein;
The Incredible Shrinking Man and The Pink Panther (Steve Martin)
plus many more to numerous to mention. Most of the recent remakes, with the exception of “War of the Worlds”, have all done poorly at the box-office.
Good job Brucec, I know today’s miserable excuse for movies cannot compare to the great ones of years gone by, but to see all those magnificent films listed just about sums up what all of us true movie lovers have all come to agree upon, they sure don’t make em like they used to.
Agreed, but let’s not forget Joe Kelly, UA projection and sound
chief, who’s two loves Cinema 150 and Rivoli were the best in sight and sound.
I hate to sound like an cranky old man, but I have to agree, most of todays movies are a bunch of noisy, effects driven garbage, void of story lines and charactor development. I am retired now with pass privliges to almost any theatre circuit, as well as being on the screening list for many studios, but I rarely go to the movies anymore. Where are the script writers with an intelligent story to tell?. I don’t mind a good special effects movie once in a while but how about including an interesting story to go along with the CGI and effects. When is the last time we had a comedy that was actually funny and not geared to the mind of a 13 year old. There i’ve said it, now I can go back to my rocking chair, continue to grow old and continue to feel bad about what has become of the business I dedicated my life to.
Vincent, I played “West Side Story” all over Long Island, New York in 1962-63 and can only recall one 70mm run, at the Syosset, which I believe was in the spring of 1962. All the other runs I did were 35mm. I don’t even recall any 35mm mag stereo prints only optical mono, mag prints were getting scarce by then.
Perhaps Michael Coate knows of some other 70mm runs im NY.
Thanks Bill, between shows we could see the crowds outside the theatre beginning to form for the big moment.When I try really hard I can still hear fanfare and great main title music in four track stereo. As Mr.Hope would say, “thanks for the memories”