721
Complete This Phrase / Fill In The Blank(s) - Vicki's Arrival-Burke's Revenge-Matthew Morgan-Introducing Josette / Re: Episode #0083
« on: March 10, 2024, 09:19:09 PM »
Good Ones, Uncle Roger, patrick, and Magnus!!
This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.
Perhaps the strangest thing I find about the subtitles on the DVD/Blu-ray is that they're supposed to be SDH subtitles, which means by definition they're subtitles for the deaf and hard of hearing, which assumes the viewers using them can't only not hear the dialogue but also important non-dialogue information so they also highlight important sounds such as sound effects, music, etc., but the subtitles rarely if ever do that. On the other hand, the closed captioning often does. The most recent example of that was back in Reply #879 for Scene 109 when the closed captioning acknowledged the sound the Greenhouse's glass ceiling makes before it comes crashing down. And now when it comes to Scene 119 the closed captioning acknowledged the sound of approaching footsteps that soon prompt Sarah to hide under the table -
- but of course, the subtitles do not acknowledge that sound...
...
(ADMIN: Edited to replace TV video screen capture)
Continuing with Scene 119 (and I'm going to use the way the scene appears in Grayson's script because DC didn't change the character names - and I have changed the names in all the quotes because it was just easier that way):
WIDEN as the SOUND OF FOOTSTEPS can be heard coming
down the hall. Sarah, not wanting to be seen, runs
and hides in back of a chair.
LAURA
SAMANTHA(O.S.)
We can talk in here.
LAURA STRACK
Samantha, Gabriel and the Rev.TraskENTER THE HOST
and cross to the windows.
And that's when today's first quote -Page 59/Scene 119 - Laura: 'You must make a decision, Gabriel.'
- comes up, followed by today's second quote -Page 59/Scene 119 - Gabriel: 'You've already made it for me. Why else would the good Reverend Strack be here?'
- coming up.
And when it comes to any differences in the dialogue, Laura switches things up a bit by actually saying "Gabriel, you must make a decision" - and Gabriel actually delivers his first sentence as "I think you've already made that for me." - and Laura actually sighs after Gabriel says that and before he surmises what other reason would Rev. Strack have for being there.
And when it comes to any differences in the directions and the descriptions, Sarah doesn't hide behind a chair because she actually hides under the table before the adults enter the Gallery - and the adults don't cross to the windows because they actually gather around the table, though, as can be seen in the following capture -
- at first we only see their legs as evidence of that because Sarah is the one who's on screen.
And still no notes in DC's script for this scene.
On the landing at Collinwood, Beth assures Quentin there's no full moon tonight. Sarcastically, he asks her, "Am I supposed to be my old self?--should we have dinner tonight?--do you think I can forget about last night--or the night before?" What if I'm different than the books say?--suppose I change even if there isn't a full moon? Quentin decides to check with Evan Hanley, seek his advice. Barnabas arrives, anxious to speak to Quentin alone. I found out a great deal about our mutual friend, hints Barn--but we must act quickly. Not tonight, insists Quentin, and exits. Barnabas gazes at Beth.
Kicking off the next scenes in the sequence:
DISSOLVE TO:
118 INT - CORRIDOR - DAY - 1800 118
Although the following sequences will have their own
distinctive style. They will be different from the
MEMORY CUTS. Carlotta's voice will continue over the
scene.
118 CONTD CONTD 118
And that's where the first of today's three quotes comes up opposite its direction and description:
It is a rainy afternoon.
The ten-year-old Sarah,
having nothing to do,
skips TOWARD THE CAMERA
playing one of her
little private games. Page 59/Scene 118 -
Carlotta's Voice: 'It was
a dark, rainy afternoon.
All week long strange
tensions had been
building in the house...'
119 INT - GALLERY - DAY 119
And that's where the second of today's three quotes comes up opposite its direction and description:
as Sarah walks into the
room PAN WITH HER as
she crosses to the
windows. Page 59/Scene 119 -
Carlotta's Voice (Contd):
'tensions I did not
understand...but feared.
Everyone did not love my
Angelique as I did.'
SARAH - CLOSE-UP
And that's where the third of today's three quotes comes up opposite its direction and description:
as she stares out at
the steady downpour. Page 59/Scene 119 -
Carlotta's Voice (Contd):
'I knew that something
terrible was about to
happen.'
And as far as the differences in the dialogue go, with the exception of adding the word "and", as in "a dark and rainy", all Carlotta's first two quotes are delivered as scripted - however, as has no doubt been figured out already given its graphic, her third quote is dropped in the film.
And as far as the differences in the directions and the descriptions go, the camera doesn't actually pan with Sarah as she makes her way to the windows - and while she does look out the side window, when she reaches the large window, she basically just looks down at the doll she's been carrying and, as can be seen in the following capture -
- then she seems to stare in a world all her own.
And as far as notations go, neither DC nor Grayson made any for this section of the script.
And as an aside that has nothing to do with the scenes covered here, but earlier today I happened to notice in the forum's Who's Online feature that a member was checking out an old NoDS topic, and feeling curious about what it was about, I came across this post while I was perusing it:You can see the missing footage either at a festival panel that I might do next year or perhaps sometime in the next 10 years or so it will be restored and released on a DVD.
As you can see, Darren made that post back in 2003, and obviously 2013 came and went with no restored NoDS to be seen. But in 2016 we still try to remain optimistic that one day... So until then I suppose we just have to settle for Darren's occasional Fest presentations.
That last still you posted of GH is stunning!
Quite an outstanding still, MB!!!
I really like that still too. When it comes to most of the others I've shared from Scene 117, I've had them for dozens of years, but I didn't come across that one until a few years ago...
And here's the last still I'm sharing that's associated with Scene 117 -
- and so far as I'm aware it's never been officially published anywhere. And even though it's taken straight on and not from below, it may be the still that comes closest to how the scene -
- was actually shot, as we can see when compared to the screen shot above.
Look forward to several stills associated with upcoming Scene 119...
Amy sees a star on Joe's forehead, and Madame F turns and sees it, too.She is horrified. It fades away. Joe looks in a mirror and sees nothing. He asks Amy to go find Mrs. Stoddard!
My personal take on all this has always been that most, if not ALL, of those notes in Grayson's script represented her own thoughts on how she was going to play this out.
Grayson was a great believer in something called sub-text. In a theatrical context, this means information that an actor brings to a given scenario or action. Ordinarily, this would be augmented or perhaps changed outright by the director's notes. DC was still fairly green at this time, though, so I don't know how much he contributed to all of this. I know he was into things such as tracking shots and whip-pans. LOL.
I do remember the story of him yelling at Thayer David to hit the stake HARDER in a certain scene in hoDS. Frankly, that seems about DC's speed during this period of his life as a director.
Of course he went on to win an Emmy... which was invariably prominently displayed in every video interview he did, in later life. I always had the feeling he worked his butt off getting that thing.
Wonderful captures, MB! And wonderful job of annotating all this for us.
G.
I do remember the story of him yelling at Thayer David to hit the stake HARDER in a certain scene in hoDS. Frankly, that seems about DC's speed during this period of his life as a director.
Entirely likely!! As we've often lamented, early director DC was far more concerned with blood and gore than he was with character elements. I don't believe there's even one notation in DC's entire NoDS script (or hoDS script) that could even remotely be considered character oriented or particularly subtextural.
Wrapping up Scene 117, beginning with today's first quote -Page 58/Scene 117 - Quentin: 'But I didn't remember anything 'til I came here. Why is it happening now?'
coming up, followed by today's second quote -Page 58/Scene 117 - Carlotta: 'Because she loves us, Mr. Collins. She always has -- she always will. I still remember that last day --'
- coming up.
End of scene - but certainly not the end of the sequence...
And as far as any differences in the dialogue go, we have no way of knowing if there might have been any differences in Quentin's scripted dialogue because it was dropped in the film as well as crossed out in both DC's and Grayson's scripts. However, DC's script has the words "But" and "this", as in "But why is this happening now?", substituted in the last part of Quentin's lines, so apparently it wasn't always the intent that it would be dropped. And what Carlotta actually says is "Angelique loves us. She always has and she always will. I'll always remember that last day --", and "Because she" is crossed out in both DC's and Grayson's scripts with "Angelique" substituted for it in both, and "Mr. Collins" is also crossed out in both.
And as far as any differences in the directions and the descriptions go, once again there aren't any of either in the script for this section so obviously there can't be any differences in them in the film. However, when it comes to notations, both DC's and Grayson's scripts have notes that Carlotta would open her locket as she mentions about remembering the last day, but while Carlotta does clutch the locket, she doesn't actually open it in the film - and Grayson's script also has a notation that further references the book that was brought up as part of yesterday's notes and indicates that Carlotta would open the book and take out a lock of hair, but quite obviously that doesn't actually happen either.
And before I wrap up this post, I do have to say that I absolutely love the expressions on Carlotta's and Quentin's faces as the scene draws to a close. Carlotta is radiant -
- as she tells Quentin that Angelique loves them, whereas, with so much hard to accept information being thrown at him, Quentin looks like -
- his entire world is being shaken to its foundation - and the final shot of the two of them, as can be seen in today's second capture -
- is nothing if not a study in contrasts...