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Today marks the debut of another new slideshow that joins the Quotes Slideshow (here on the Current Talk board) and the Episode Captions Slideshow (on the Robservations board) - the Movies Quotes Slideshow. This slideshow is to celebrate the buildup to both DS movies (hopefully) being released on DVD next year and is based on the Fest's 1999 Movie Calendar of quotes. Like the 1990 Calendar Of Quotes, which took its quotes directly from the DS scripts, the 1999 Movie Calendar takes its quotes directly from the shooting scripts from both movies, starting at the beginning of each film and continuing chronologically through the end (and in the case of NoDS, that means in the order the scenes appear in the script, not the order they appear in the released version of the film). In the Movies Calendar case, however, that means the quotes not only come from scenes in the actual movies, but also from cut/trimmed sequences as well as never shot sequences. I have many photos from the cut/trimmed sequences, so whenever possible they will be a part of the graphic for those quotes. Obviously, though, there won't be any photos featured from the never shot sequences. Two such quotes just happen to kick off this new slideshow - but in the case of these sequences I'll post a brief explanation in this topic of how the quotes fit into the scripts so that those who may not have copies of the scripts will still be able to understand.
NoDS is featured on the calendar from July 1st through December 31st, so the slideshow will be focusing on NoDS exclusively for the next six months - hoDS will begin to be focused on January 1st of next year, and it will continue through June 30th.
Enjoy. [ghost_smiley]
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Quote:[spoiler]NoDS: Scene #3 - Hippy: 'Hey, you dirty ... I'm lost, man! I'm lost!'[/spoiler]
Context:[spoiler]If shot, this would have been the first line of dialogue in NoDS. A hippy stands on the side of a road in a "heavy driving rain." Seeing an approaching car, he tries to flag it down, but it speeds by and he is "engulfed in a wave of water." The quote is his angrily screamed response.[/spoiler]
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Quote:[spoiler]NoDS: Scene #17 - Hippy: 'What the hell is going on?'[/spoiler]
Context:[spoiler]Having discovered and gotten inside a supposedly deserted Collinwood, the hippy has been seeing "a strange iridescent glow" in various areas of the house. Here he sees the glow again at the far end of the second floor corridor. The quote pretty much speaks for itself as to his reaction.[/spoiler]
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Seems like a cool endeavor to me! [ghost_wink]
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Quote:[spoiler]NoDS: Scene #46 - Quentin: 'Well, I was and all night, dreaming very strange dreams.'[/spoiler]
Context:[spoiler]In dialogue that doesn't appear on the calendar, Tracy remarks that she woke up during the night and Quentin wasn't in bed. The quote is Quentin's insisted reply. However, Tracy (and the audience) knows that Quentin did indeed get up. What Tracy doesn't know (but the audience does) is that Quentin made a mysterious trip to the tower room.[/spoiler]
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Quote:[spoiler]NoDS: Scene #64 - Quentin: 'I can't tell you how happy I am with the tower room.'[/spoiler]
Context:[spoiler]Scene #64 takes place in the master Bedroom at night following the scenes in which Carlotta took Quentin to the tower room. Obviously he's speaking to Tracy.
And for those who don't have a copy of the script, Scene #63 is not the scene in which Quentin discovers Charles' unfinished painting of Angelique - that doesn't come up until Scene #84. Scene #63, also cut, is simply Carlotta leaving the tower looking pleased.[/spoiler]
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Today's and tomorrow's entries in the Movies Slideshow actually depart from what's listed on the Movies Calendar because the quotes on the calendar were taken from the March 10th version of the NoDS script, but revisions were made to the script on March 31st. The calendar lists two quotes for August 10th and 11th from a memory flashback that Quentin has of a scene between Charles and Gabriel. However, the new version of the script replaced that scene with the piano scene between Charles, Angelique and Laura. Though the scene between Charles and Gabriel wasn't dropped - it was simply reworked slightly and placed later in the script where, I think anyway, it makes more sense. Interestingly, though, the only part of the scene that exists in the present version of NoDS is as a voiceover portion of Quentin's dream. The infamous one in which he goes to bed wearing a yellow pair of pajamas but later dreams in a completely different blue pair. But that's what happens when you're forced to combine portions of Scene #40 with Scene #103. [ghost_sad]
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The still of Diana Millay you chose to illustrate this scene is simply ravishing, MB.
I wish Diana's dialogue track had survived. I can really hear her saying these words.
I loved the piano sequence when I had the chance to see it at Darren's presentation some years ago.
G.
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MB! I am cackling away at Ang's dialogue from today's deleted scene.
"Laura my darling" indeed! What a hoot!
Thanks so much for sharing!
cheers,
G.
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Quote:[spoiler]NoDS: Scene #68 - Quentin (to Tracy): 'I was just waiting for you.'[/spoiler]
Context:[spoiler]This line of dialogue takes place in the scene immediately following the memory flashback with Charles, Angelique and Laura after Tracy arrives in the doorway to the drawing room and asks Quentin if he's all right.
(Shortly afterward they go on their picnic, which are yet more scenes that, for the most part, aren't included in NoDS as it stands. Nor are they included on the Movie Calendar. But then, there's very little dialogue in them.)[/spoiler]
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Quote:[spoiler]NoDS: Scene #81 - Tracy (to Claire): 'I'm a little concerned about Quentin. I don't think he's getting a lot of work done.'[/spoiler]
Context:[spoiler]This line of dialogue is but the first in a series of quotes that will be featured in the Movies Quotes Slideshow over the next several days and that are taken from Tracy and Claire's shopping trip. Here the two women are driving along in Claire's car and obviously discussing Quentin.[/spoiler]
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Quote:[spoiler]NoDS: Scene #82 - Claire: 'Is he worried about it?'[/spoiler]
Context:[spoiler]Still talking about Quentin - but now Claire and Tracy are walking along looking in the windows of the various shops.[/spoiler]
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Quote:[spoiler]NoDS: Scene #82 - Tracy: 'Sometimes he seems so far away, it's hard to know what he's thinking.'[/spoiler]
Context:[spoiler]Still talking about Quentin. Still walking along looking in the windows of the various shops.[/spoiler]
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Quote:[spoiler]NoDS: Scene #83 - Gregory (to Tracy): 'Oh, do I have something for you ... it's madness it's so perfect.'[/spoiler]
Context:[spoiler]Having gone into a New York style boutique that Claire is familiar with, Tracy meets "the very mod" Gregory, who instantly upon meeting her has "an insane dress" in mind for her.[/spoiler]
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Quote:[spoiler]NoDS: Scene #83 - Tracy: 'It's very me ... but it's completely un-Quentin.'[/spoiler]
Context:[spoiler]Obviously Tracy is commenting on the dress Gregory has in mind for her. One wonders if it's the one she wears to the dinner with Claire and Alex. We do know from Alex' comment at the dinner that apparently Claire buys something new.[/spoiler]
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Today's entry in the Movies Slideshow is another that departs from what's listed on the Movies Calendar. Once again the quote on the calendar was taken from the March 10th version of the NoDS script, but before shooting revisions were made to Scene #85 - revisions that aren't even in the March 31st version of the script. With regards to the portrait Charles is working on, the calendar lists the quote: Angelique (to Charles): 'You're never going to finish it. I just won't let you go,' which is very different from what Angelique says to Charles in the film.
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I'm honestly surprised that no one has deduced and remarked that apparently Angelique had a hairdresser at her ready and hidden somewhere in the tower room during NoDS Scene #85:
(http://www.dsboards.com/moviesquoteimages/0820NoDS_0.jpg)
NoDS: Scene #85 - Angelique: 'Bring the painting to life,
Charles.'
(http://www.dsboards.com/moviesquoteimages/0822NoDS_0.jpg)
NoDS: Scene #85 - Angelique: 'I'll go with you. But don't
any of you touch me!'
Obviously said hairdresser must have popped out and done an extremely quick fix of Angelique's hair during the ruckus between Gabriel, Charles, Strack, and the henchmen. [ghost_cheesy] But, of course, a good heavy petting session can really be hell on a fancy 19th century hairdo - and one does want to look one's best when one is going off to certain death. [ghost_wink]
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Angelique's hairdo kabuki in these shots reminds me of the mysteriously appearing and disappearing wiglets when Ange was tricked by Sky into making a trip to the airport off Little Windward Island, so as to give Jeb the opportunity to have his way with Carolyn.
Today's shot (9/1) of Carlotta was really boss. I had to keep coming back to it because there was something so familiar about it. Then I realized that the angle and the lighting really emphasized a resemblance I'd never before seen between Carlotta and the late Wayland Flowers' "special friend," Madame.
Perhaps the two were "separated at birth"? *wink*
G.
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Here's the capture in question:
(http://www.dsboards.com/moviesquoteimages/0831NoDS_0.jpg)
Madame, huh. Well...
And here's a bonus from when you were on vacation:
(http://www.dsboards.com/moviesquoteimages/0829NoDS_0.jpg)
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If you don't have a copy of the NoDS script and you're wondering why is that scene of Gabriel taunting Charles in the slideshow today, well, that's because it should be placed later in the film than it appears in the edited version that MGM demanded. Quentin does indeed have a dream that includes that sequence, but it's supposed to take place after he goes to bed after having attacked Gerard while thinking he was Gabriel - not on his first night at Collinwood. The reworked version of the scene between Charles and Gabriel that I alluded to in reply #6 precedes the taunting. Sadly, all that currently remains of it as the film now stands is its use as a voiceover in Quentin's first night dream. [ghost_sad]
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Anyone have any idea who the actor who is standing behind Chris Pennock's left shoulder (i. e. to his right from the viewer's p. o. v.)? You can barely see him in this shot, but he has a long drooping moustache and an interesting and somehow, vaguely familiar face.
It's not James Storm on his other side, is it?
cheers, G.
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The face of the guy on the right is in full view here:
Night of Dark Shadows
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And the same situation today as with yesterday's capture/quote - the scene of Quentin mumbling (and Tracy trying to wake him) should have been at this point in NoDS rather than in the beginning.
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Today's entry in the Movies Slideshow is yet another that departs from what's listed on the Movies Calendar. Once again the quote on the calendar, which was: Alex (to Quentin): 'Angelique Collins was married to a man named Gabriel, but was really in love with his bother, your favorite painter, Charles,' was replaced in part at some point not indicated by DC's script by the lines[spoiler]NoDS: Scene #111 - Alex (to Quentin): 'You already know about Charles Collins. But do the names Gabriel and Laura mean anything to you?'[/spoiler]
Today also marks the first of an 11 day streak of quotes taken from Scene #111, a sequence in which Alex [spoiler]tries to use info found in Collinwood's own library to convince Quentin that his so-called daydreams are actually much more.[/spoiler]
Also, the photo used to illustrate this scene was generously provided by Darren Gross when he learned I didn't have any photos from the scene in my own collection. Thanks a million, Darren. And some fans may also recall that this scene was shown during Darren's NoDS presentation at the '04 Fest in Tarrytown.
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The image is gorgeous!
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Cut Scene #116 takes place the morning after Quentin has had his painting gear moved from the tower to the gallery. It's mostly a little scene that establishes the playfulness in Quentin and Tracy's relationship - something that is barely on display in the film as it stands now because it basically goes from one crisis to the next. Though there is one significant fact that's revealed in the scene. But that won't come up in the slideshow until the 6th...
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Dear Fans,
back from a lovely weekend awash in vivid fall colors up in Ontario--and who greets me upon my return but none other than Carlotta Drake at her most fervently FIERCE. If I recall correctly, the gown Grayson wears in this scene really flatters her complexion, which I believe in somebody's taxonomy of physical "types" is actually described as "autumn."
Really special to be greeted by the sight of my special DS Goddess upon my return here! I love the snap of Roger-the-Zombie, which has a distinctly Ed Wood look to it, too.
cheers, G.
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Carlotta was recently feature in three consecutive captures:
(http://www.dsboards.com/moviesquoteimages/1010NoDS_0.jpg)
NoDS: Scene #117 - Carlotta: 'Do you remember that little
girl you thought you saw at the window the other day?'
(http://www.dsboards.com/moviesquoteimages/1011NoDS_0.jpg)
NoDS: Scene #117 - Quentin: 'Yes.'
(http://www.dsboards.com/moviesquoteimages/1012NoDS_0.jpg)
NoDS: Scene #117 - Carlotta: 'That little girl was Sarah
Castle. She lived in this house over one hundred and fifty
years ago.'
And there are more to come...
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Carlotta is so beautiful in that scene--and to think it's Grayson looking up at a painting and talking about some 'young girl' this time...
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This probably isn't the right place to post this ... but I didn't want to start a new thread. Today's screen capture from NODS (from a deleted scene?) is great. It looks like a step back in time. I didn't always appreciate Chris Pennock and David Thayer look like they really are from another era. Something about the composition of the photo is striking! It makes me wish for a restored version of the film, which had so much more to it before the studio-mandated cuts and recutting basically ruined it, IMO.
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I agree with Philippe--this is a marvelous image, and so gorgeously painterly. It really is like getting a look at a vanished era (which 1971 is just as much as 1810, at this point in time). I think it also captures Pennock's moments of intensity (I wish there were a way for him to see this image) in a brilliant way--and of course, Thayer's earthy rootedness in his character (much better than the likes of Rev. Strack deserved! I wonder where Lacy was at this time, btw? seems as if Sam must have written this part for him originally).
G.
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This probably isn't the right place to post this ... but I didn't want to start a new thread.
This is definitely the topic to comment on the Movies Quotes Slideshow. [hall2_smiley]
Today's screen capture from NODS (from a deleted scene?) is great.
The scene is in the movie - and what an important scene it is. And BTW, the graphics always indicate whenever the slideshow is showcasing a sequence that was trimmed/cut. [hall2_wink]
I agree with Philippe--this is a marvelous image, and so gorgeously painterly. It really is like getting a look at a vanished era
I was extremely happy with that capture, too.
(http://www.dsboards.com/moviesquoteimages/1020NoDS_0.jpg)
I wonder where Lacy was at this time, btw? seems as if Sam must have written this part for him originally).
He was appearing in the soap Love of Life when NoDS filmed and couldn't get away to appear in it. However, I love what Thayer David did with the part. But then, the man could have read from the phonebook and made something riveting out of it...
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MB, I absolutely agree re Thayer David in NoDS. I adore Jerry Lacy but Thayer's Rev. Strack characterization is one of his most vivid portrayals!
G.
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Thanks for the explanations, MB. [hall2_grin]
Thayer David is a master! [hall2_smiley]
I do apologize for a nonsensical sentence in my earlier comment. I had meant to remove a remark about not having appreciated Chris Pennock in the past, but somehow my own hasty editing left part of that comment in. [hall2_rolleyes] To clarify, I didn't think much of his Jeb portrayal, but came around to Mr. Pennock in his role as Gabriel. I think I liked him even better in 1841 PT - at least, I think he was in 1841PT. I re-watched 1841 PT twice this year but with some personal disruptions since then, I'm experiencing a memory lapse. And he seemed a very gracious man at one of the fests I attended.
As far as Thayer David goes, I've appreciated all his performances. He reminds me somewhat of Orson Welles, in fact. And I don't know how/why I wrote "David Thayer" in my earlier post. [hall2_embarrassed]
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Didn't Thayer David start life as David Thayer?
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Hi Lydia,
He was born David Thayer Hersey. Someone who seems to have known him personally or received personal info (perhaps from a family member?) has written a marvelous short biography of him on the IMDB page for him. I highly recommend it. I have long wanted to write a short chapbook about Thayer, and I have lived for some years now in his home town of Medford, Mass., but never been able to track down any members of his family.
There are lots of people with the surname Thayer in the Boston area, and there's even a Thayer Street in Providence. It's a "big" name out here.
And boy, am I ever loving today's shot of Thayer at his most icy and formidable!
G.
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And boy, am I ever loving today's shot of Thayer at his most icy and formidable!
I also love that capture:
(http://www.dsboards.com/moviesquoteimages/1022NoDS_0.jpg)
In fact, I think all the captures from The Big Reveal, as I like to refer to the scenes when Carlotta explains everything to Quentin, came out really well. The actors were all so spot on in their performances in all of those scenes. [thumb]
As for today's quote:Quote:[spoiler]NoDS: Scene #124 - Carlotta: 'She walked down the stairs so proudly. They were all afraid to touch her.'[/spoiler]It actually differs from what's in the script. The originally scripted voiceover talks about how[spoiler]it seemed like hours passed to Carlotta/Sarah after she'd witnessed the scene in the gallery, but finally her mother joined Laura at the bottom of the stairs, and after the silence was shattered by the "terrifying sounds" of the scene that took place in the tower when Gabriel and Strak went up to get Angelique, Sarah finally saw Angelique coming down the stairs. No mention of her walking down proudly or anyone being afraid to touch her (or that she suddenly knew she might never see Angelique again and ran to her).[/spoiler]
I honestly like the version that's in the film better.
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May I just say again that I am LOVING these images. In the scene shown for today (10/26/2009), I'm seeing people I NEVER saw before, either because my laserdisc print is p & s, or because I was always so focused on Angelique and Sarah when watching this that I didn't get to catch the different expressions of the people around them.
Love the respective looks on the faces of Clarice and Diana. And is it just me, or is Selby's pose practically pornographic??
Hats off once more, MB!
cheers, G.
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And is it just me, or is Selby's pose practically pornographic??
All his poses are pornographic to me. [hall_grin]
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I don't know about Charles' stance appearing pornographic ([lghy]), but I also love the expressions on Mrs. Castle and Laura:
(http://www.dsboards.com/moviesquoteimages/1025NoDS_0.jpg)
Though Mrs. Castle's whole body language in the capture from the previous day is priceless!
(http://www.dsboards.com/moviesquoteimages/1024NoDS_0.jpg)
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Misterioso darling, YOU are priceless for re-posting that previous day's capture here--I'd missed it as I was not online for most of the weekend.
Poor Clarice! I could speculate on what hit her, but I won't. (At least on THIS picture, we know that the infamous Roger Davis and his actress-shoving ways had nothing to do with it!)
G.
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In case anyone is wondering why yesterday's caption said "NoDS: Scenes #127/#128" and today's says "NoDS: Scenes #126/#127", that's because DC did a bit of creative editing when it came to putting those sequences together because he took dialogue from one scene and played it over footage from another scene. I honestly think his editing improved on the way it's laid out in the script and made things more effective in the film.
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I just have to comment, as regards the recent grouping of images up to and including today's (Friday 10/30): who in the right mind has a lynching/hanging in their front yard and then leaves the corpse just hanging there, to rot and moulder, FOR DAYS? Apart from anything else, the smell, not to mention the slowly dropping body parts covered in maggots and pecked at by carrion, must have been horrific.
Even by the loopy standards of the Collins family (and remember, "hypocrisy above all!" IS the family motto according to Mrs. Carolyn Stoddard Hawkes), this is just way, WAY out there.
And they were always depicted as being so averse to publicity... whatever passed for the local paper would have had a field day. Can't you just see the scare quote headlines: "CORPSE OF COLLINS STRUMPET BIGGEST BOOST TO LOCAL TOURISM IN DECADES, MAYOR SAYS."
Ah, the team of Dan Curtis and Sam Hall....
G.
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Oh no no - in the words of Laura Collins, "There will be no scandal." Apparently those four men from the estate who were chosen to take part in Angelique's hanging and who swore "to keep silent forever" also kept all outsiders completely away from estate until Angelique's spirit returned "to the pits of darkness forevermore." [b003] Then her "earthly remains" must have been taken down and buried.
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Well, thank goodness for that!
I mean, bits of rotted carrion-eaten flesh littering the front lawn are one thing, but any "scandal" in the local press would be absolutely unacceptable.
Once again the Collinses prove their fealty to the family motto--"hypocrisy above all!"
I'm glad it's getting close to the time when I do my annual drive-through of my favorite highlights of the Leviathan story...
cheers, G.
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I mean, bits of rotted carrion-eaten flesh littering the front lawn are one thing, but any "scandal" in the local press would be absolutely unacceptable.
But of course! [hall2_grin]
I'm glad it's getting close to the time when I do my annual drive-through of my favorite highlights of the Leviathan story...
Leviathans will be starting up as part of the Watching Project at around mid-November. If you can wait that long, why not do so and take part. [hall2_wink]
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Further on deleted scenes from NoDS--I got out the DS Movie Book this past weekend and was reading NoDS cinematographer Richard Shore's fascinating description of a Quentin/Angelique lovemaking sequence that was filmed in the swimming pool with lots of "trippy" lighting and effects. Stills exist, but the sequence itself was deleted from the MGM release print. This is all detailed in Darren Gross' excellent article about the making of the two DS features.
Anyone out there remember whether the swimming pool makeout sequence is among the footage that was recovered by Darren?
I did happen to find the part in the script for the piano sequence and smirked all over again at the interchange between Laura and Ange. Ange is so catty when she says "Laura my darling..."
G.
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Sadly, if I'm remembering correctly, I don't believe the dream sequence is part of the recovered footage. I'm thinking that the only things that remain of it are clips in the various NoDS trailers and stills like these two:
(http://www.dsboards.com/images/NoDSdream-1.jpg)
(http://www.dsboards.com/images/NoDSdream-2.jpg)
But if I'm wrong, Darren will certainly correct me. And if I'm wrong, I would be very happy to be so. [hall2_wink]
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Wow, MB, I know I've never seen either of those two stills! Truly way out!
This really seems to emphasize the "Witchy" aspect of the thrall Angelique held over Charles...
Love it! Thanks for sharing!
Best, G.
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If you don't have a copy of the NoDS script and you're wondering why it is that the scene of[spoiler]Charles and his horse about to trample Strak to death[/spoiler]is in the slideshow today, well, it's because it should be placed later in the film than it appears in the edited version that MGM demanded. The scene was never meant to be a part of Quentin's dream. It is supposed to take place after Quentin has been reading, he's drawn to the portrait of Angelique, and he runs from the house rather than give in to his "horrible temptation" to go to the tower room. However, while sitting outside, he has the memory of[spoiler]Charles killing Strak[/spoiler]- and that and not simply being drawn to Angelique's portrait is what prompts him to give in and to return to the tower room.
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Quote:[spoiler]NoDS: Scene #150 - Quentin (to Angelique): 'How could I have ever thought you were a dream?'[/spoiler]
Context:[spoiler]After Quentin has gotten rid of Tracy, he goes back into the tower room where we notice that he has been working on Charles' unfinished painting of Angelique. He picks up his brush, does something, then looks off screen and smiles. The camera pans in the direction of his gaze to reveal the "strangely opalescent" Angelique, who lies on the cot, holding out her arms to him. Quentin then crosses over to her and delivers the line. Quite obviously Tracy was right to suspect that someone else was in the tower room.[/spoiler]
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No NoDS photo/caption today, 11/17? I see only an empty little white box with a red x...
G.
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Sorry about that. A few different things conspired to keep me from putting up that capture/quote on time (as well as doing several other things on the forum), but it's up now (and the other things will follow in due time).
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Many thanks, and I apologize if I was nagging.
Hope your day improves (my own has been less than stellar, alas).
Best,
G.
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No worries - you didn't come across as nagging at all. Actually, I was glad to see that someone had been wondering where it was. [hall2_smiley] Normally I'm at least a few days ahead, but time just got away from me this week. Though thankfully the delay was only for a cut/trimmed scene.
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Quote:[spoiler]NoDS: Scene #172A - Tracy (to Angelique): 'I know you're up there. But I won't let you have him. I'll never leave! Never!'[/spoiler]
Context:[spoiler]Shortly after having been molested by Quentin, Tracy gets out of bed, crosses to the bedroom window, looks up to the tower room, and delivers today's quote.
(Not having any photos from the sequence, I'd always wondered if I'd ever get to see anything from it, and I was very pleased when I first saw it show up as recovered footage in one of Darren's NoDS presentations.)[/spoiler]
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Quote:[spoiler]NoDS: Scene #181 - Claire (to Alex): 'We can't fight her. She has so much power. Alex, maybe we should go to Quentin now.'[/spoiler]
Context:[spoiler]In the aftermath of Angelique's attack on Alex, Claire and Alex discuss what to do next.[/spoiler]
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Quote:[spoiler]NoDS: Scene #216 - Quentin (softly): 'Tracy, try to understand the way I feel. I have such a tenuous hold on myself that --'[/spoiler]
Context:[spoiler]Quentin is alone with Tracy for the first time since attempting to drown her. He holds and comforts her, trying to find a way to explain.[/spoiler]
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Quote:[spoiler]NoDS: Scene #217 - Quentin: 'There's only one way we're going to end this. We've got to get back in there and find Carlotta because she's the one who's keeping the spirit alive --'[/spoiler]
Context:[spoiler]Today's quote differers from what's on the calendar. In Scene 216, Quentin was originally intended to say to Tracy "There's only one way to end it. We've got to back in there and face it down --" But when the film was reedited and so much was cut, today's quoted voiceover was added to Scene 217 to explain things.[/spoiler]
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Quote:[spoiler]NoDS: Scene #218 - Quentin: 'In a dream I had, Gabriel threw Charles into a small dark room.'[/spoiler]
Context:[spoiler]Today's quote differers somewhat from what's on the calendar. For Scene 218, Quentin originally delivered the line as "Gabriel and two men locked Charles Collins in a small dark room," but the scene was subsequently reworked, and the line as it appears in the slideshow is taken from DC's script. The scene takes place on the portico as Quentin, Tracy, Alex and Claire stand near the front door, getting ready to go in - but first Quentin explains about his dream and how there's something in the house they've got to find.[/spoiler]
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As an interesting sidenote to the three most recent quotes, there's a possibility that the scenes were among the ones that were never actually shot. Apparently I'm not the only person who doesn't have photos - it seems as if no one may have seen any. But because of the uncertainty, I've used the "No photo available" graphic rather than the "Never shot sequence"...
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Forgive me if I'm fussing unduly, but today's quote implies that the funeral sequence Quentin "witnessed" from 1810 was Charles' funeral. But, in a recent viewing of NoDS, I could swear that Strack was speaking of Angelique Collins, and glaring at Laura as she interrupted with derisive laughter (wonderful Diana Millay moment).
Did Sam Hall goof here? It wouldn't be surprising given the number of revisions and just how quickly he had to throw the whole thing together... it is amazing that the resulting script is so good...
G.
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I was afraid that graphic and quote might send the wrong impression. [santa_undecided] And I almost posted a clarification. I guess I really should have. But better late than never. [santa_wink]
The funeral that Quentin witnesses is indeed Angelique's - and the skeleton that is discovered behind the brick wall is Charles'. However,[spoiler]the coffin that was buried during Angelique's funeral was indeed empty. Angelique's real coffin was actually locked away in a room in the basement of Collinwood - and Charles was thrown into the same room and imprisoned by Gabriel after the entrance to the room was bricked up. That's the reason that after Gabriel threw Charles into the room he told him that he would have Angelique for eternity.
(An upcoming quote (the 19th's) from the seance scene will actually explain that after Angelique's and Charles' bodies are found, they're buried in holy ground.)[/spoiler]
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Wow, I totally missed that detail about the location of Angelique's actual coffin. I really need to re-read that screenplay.
Thanks, MB, for the clarification!
And if I fail to say it closer to the time, a very Merry Xmas to you and yours!
cheers,
G.
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Well, until I read the script, I'd always thought that Laura was laughing at Strack describing Angelique as Laura's "loyal and loving sister-in-law." If that were really true, I'd hate to think what a disloyal and hateful sister-in-law might have been like. [santa_grin]
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Quote:[spoiler]NoDS: Scene #243 - Quentin: 'Hey, come on, Trace, it'll only take a minute.'[/spoiler]
Context:[spoiler]Quentin is referring to going back to Collinwood to pick up his canvases, which Tracy isn't happy about.[/spoiler]
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The switch from December to January brings with it the switch from NoDS to hoDS:
Quote:[spoiler]hoDS: Scene #9 - Maggie: 'David, where have you been? I've been looking for you.'[/spoiler]
Context:[spoiler]Today's quote replaces the one that was actually scripted for Scene #9 (Maggie: ''Please, David! If you're hiding up there...') because, for some reason DC crossed out the originally scripted sequence of Maggie searching for David in the tower room and he replaced it with a sequence of Maggie hearing David's radio and thinking he's in his room.
(Maybe it was best that Maggie didn't go up to the tower room because, well, who knows if Angelique [ghosty] was there? [wink2])[/spoiler]
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Quote:[spoiler]hoDS: Scene #13 - Liz: 'What about David, Maggie?'[/spoiler]
Context:[spoiler]After finding David hanging in her closet, an hysterical and rambling Maggie runs out into the corridor. Today's and tomorrow's quotes deal with that.[/spoiler]
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The camera angle combined with Maggie's very short dress on the the capture for yesterday's quote was strange. It seemed as though we we were looking up her skirt, even though we weren't.
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Agreed.
(http://www.dsboards.com/moviesquoteimages/0101hoDS_0.jpg)
Seemingly many of DC's camera angles in hoDS are strange. [santa_undecided]
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Quote:[spoiler]hoDS: Scene #16 - Daphne: 'It was one of David's tricks.'[/spoiler]
Context:[spoiler]Probably the most interesting thing about this quote is that it was scripted to be delivered by Mrs. Johnson. But the film had yet to find its Mrs. J. at the time the scene was shot, so Daphne was substituted. The scene takes place when Maggie, Roger, Liz and Daphne have entered Maggie's room believing they'll find David hanging in the closet only to find that he's nowhere to be found.[/spoiler]
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I guess I missed any shots that might have been posted of Carlotta during the seance sequence in the NoDS series. I realize, however, that you probably didn't have access to any shots of this sequence.
I just love the image you created for today's (Tuesday's) quote. That's a beautiful capture from the trailer.
Happy 2010!
Best,
G.
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This shot of Carlotta from the seance was featured on December 23rd:
(http://www.dsboards.com/moviesquoteimages/1223NoDS_0.jpg)
It comes from the wonderful NoDS trailer that appears on DS DVD Volume 26 as an extra.
As for today's quote/capture, it isn't actually the moment that appears on the calendar for today. In fact, the quote that appears on the calendar shouldn't and won't appear until the 7th. The quotes from Scene #19 are out of sequence on the calendar. But then, anyone who remembers the problems with the 1990 Calendar of Quotes (from the daytime show) won't be surprised that the 1999 Movie Calendar has similar problems. (Though none for NoDS. And one wonders if they could get NoDS right, why not hoDS? [santa_rolleyes])
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Thanks, MB! Love the capture!
I have a vague memory of an endless compilation of trailers on one of the DVD sets... was this in 26? I'll have to go look again. They included some hysterical ones... I really want to see "Joe" after viewing the trailer. It's on my Netflix queue!
G.
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The quotes from Scene #19 are out of sequence on the calendar.
And now we've seen them all. The quote from the calendar for the 6th belongs on and appeared here on the 5th, the quote from the 7th belongs on and appeared here on the 6th, and the quote from the 5th belongs on and now appears on the 7th.
Interestingly, the way today's quote is in the film is different from the way it appears in all the various versions of the hoDS script. The scripted version is: "The three Graces spin -- high above. The Lion's Head looks down at the dove." But I suppose that they couldn't actually find the Three Graces so they went with two Madonnas instead. [snow_wink]
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That's really quite funny, mio caro Misterioso. I could have sworn those lines were in the film. I probably *think* that they were because they were, no doubt, included in the "Marilyn Ross" novelization, which from what I can recall followed the complete script fairly closely, down to scenes such as the ones with the Marie Wallace character that were cut before filming even began...
G.
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Heavens to Murgatroyd, what a pair today's snaps make! At Collinwood, Liz doesn't even notice that Daphne's out-of-control Wig Monster has begun EATING HER BRAIN. Meanwhile, back at the Old House, in Episode # 666 (All Hail the Beast!), Julia's having a meltdown over how badly her accessories today are made of FAIL.
The drama is truly relentless at the Great House... and for All Who Live There...
G.
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You may be asking yourself why the scene of Maggie looking for David at the Old House is coming after the scene between Liz and Daphne in the office when Maggie's scene comes before Liz and Daphne's scene in the movie? Well, that's because Maggie's scene was scripted to come afterward - and the calendar follows the script. However, DC did some creative editing with the film because Willie discovering and opening the coffin, Maggie searching and getting locked in a room at the Old House, and Liz and Daphne talking at Collinwood are intercut with each other, whereas the order the sequences are actually scripted to take place in their entirety are Willie, then Liz and Daphne, and then Maggie a bit later. In fact, in the script, Maggie doesn't even begin to look for David at the Old House until after Jeff has discovered Daphne after her attack.
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Today's (and tomorrow's) quote comes from a scene that was completely deleted from the hoDS script. It was originally intended to be Julia's introduction and dealt with Julia questioning Jeff about what he might have seen when he found Daphne. Perhaps the reason it was deleted was because it covered similar ground to Scene #63 between Julia and Sheriff Patterson. [idontknow] But it wasn't out of the ordinary for scenes to be deleted from later drafts of the DS movie scripts - several scenes were subsequently deleted from both the hoDS and NoDS script. At least with hoDS, most appear in the novelization...
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Today's quote is much shorter than what's on the calendar for January 19. The calendar lists: Maggie - 'All right David! That's enough! Let me out of here, David!' However, after hearing the noises and going to the door, what's actually in the film for Scene #52 is Maggie almost timidly questioning, 'David?' A huge difference...
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Once again, today's (and tomorrow's) quote is totally different from what's on the calendar. Apparently Scene #63 was reworked before filming (the lines in the scene are slightly different from the even way they appear in DC's script, which itself is indicated as a March 25th rewrite). This reworking also required the switching around of which character's line appears in the slideshow on what day. Today the slideshow features Julia, while the calendar lists: Sheriff (to Julia) - 'But what kind of animal would attack...'.
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Hey, Grayson Hall with big hair! Cool!
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Today the slideshow features the sheriff, while the calendar lists: Julia - 'The marks are not unlike those of a bat.'
Why do I suspect that Dick Smith's makeup might have had something to do with that line being dropped? [wink2]
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And once again the calendar features a quote from a previous version of a scene that was completely reworked before filming. Interestingly, this quote from Jeff doesn't even appear in the novelization, so perhaps it even predates the version of the hoDS script that was used for the novelization.
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Today's quote is not the quote that appears on the calendar. The quote on the calendar: Maggie - 'I'm going to give my notice tonight,' actually comes from Scene #70 - but you'll note that today's quote comes from Scene #68C. And that leads us to an odd thing about the hoDS script: Maggie actually decides to leave Collinwood in two separate scenes. The reason for this, however, is that Scene #70 is part of the Nancy Hodiak portion of the script (where a second woman, supposedly to have been portrayed by Marie Wallace, is attacked after visiting Jeff's studio), but before shooting even began, DC had decided that none of that would be shot (supposedly because Marie Wallace dared to get another job on the NBC soap Another World - Somerset), so among the rewrites that are dated March 25th is a scene set earlier than the Nancy Hodiak portion where Maggie's decision to leave is dealt with. Though the real irony is that even the new scene doesn't appear in the film. As the film stands, we don't even learn that Maggie is leaving until the costume party. But don't even get me started on how far too many interesting and often important character moments were sacrificed on the altar of focusing more strongly on violence and gore... ::)
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Great still for today's slideshow--even though I'm not a fan of Maggie/Jeff (and neither, of course, was KLS--giggling at the memory of her filming diary), this is a really boss shot of them, and not one I think I've ever seen before. Way to go MB!
G.
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The only place I've ever seen the photo is in an hoDS article that was published in the September 1970 issue of TV Radio Talk. There were some other great photos published along with it - as well as an interview with Grayson Hall and Jonathan Frid about the making of the movie. The original actually shows more but I had to crop it to the right size for the graphic:
(http://www.dsboards.com/moviesquoteimages/0124hoDS_0.jpg)
As for Magie and Jeff, it's interesting how so many of their scenes ended up being cut. And considering how KLS wasn't exactly thrilled with having Roger Davis play her love interest, I suspect she might have been a bit pissed that she'd put up with him for those scenes for nothing. Though at least DC managed to reign in RD's antics in what does appear on screen...
(And at least KLS' indication in her hoDS diary that there were plans for RD to also play her boyfriend on the daytime show never came to pass. Thankfully we never see RD again after his ridiculous (from a plotting perspective) appearance as Peter during Leviathans.)
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I am naturally quite intrigued by the interview with Jonathan and Grayson. I wonder whether this was around the time when they were riding together in a parade through a town and they were nearly mobbed by overly eager fans due to the failure of the cops to provide adequate manpower for the event.
It would be nice if decent scans of rare images such as these could be included in the eventual DVD release, but I'm not holding my breath. A major disappointment in many DVDs has been the poor quality of the image galleries, for those who bother...
G.
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Great still from the Blue Whale sequence tonight. It makes me realize I have no idea where the Blue Whale scenes were filmed. Was a room inside Lyndhurst itself rigged up to double as the Blue Whale, or was there another location for these?
I imagine the answer lies somewhere in the DS Movies Book...
G.
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Actually, that's the Collinsport Inn (not that there's any way to identify it as such as the movie stands :-\) - and it was "played" by the 3 Bears Inn located in Westport, CT. The outside of the inn also "played" Collinsport's Main Street for the deleted scene in which Willie warns Stokes...
It probably goes without saying, but the woman being referred to in both today's and yesterday's quotes is the sadly never seen Nancy Hodiak. I would have loved to have seen Marie Wallace play the role - but alas...
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Sadly, it isn't called The 3 Bears anymore, and the interior has been remodeled. [snow_sad]
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Before I get into explaining Scene #80, I should probably mention that on the calendar yesterday's quote is attributed to Stokes rather than Liz. Perhaps it was indeed Stokes' line in some version of the script - but not in DC's or the novelization. And actually, Scene #80 seems to have been severely cut down by the time DC's versions of the script was put together because an entire portion in which Roger, Julia, Stokes, Carolyn and Liz discuss Nancy Hodiak's attack is completely gone - though that is more than likely because DC had no intent to shoot to the Nancy Hodiak sequence. Though, interestingly, the scene is described on the hoDS shooting schedule as "They discuss Nancy's death." Go figure...
Also, the quote that appears on the calendar for Julia ('She still doesn't remember anything. And that seems odd to me. Very odd.') is totally different than the one that appears in the script/novelization (which is what I used).
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I hadn't noticed this thread before but I just wanted to say that I have really enjoyed all the outtakes from NODS and HODS etc! Thanks again MB for your hard work!
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Apparently today's quote from Liz appeared in some version of the hoDS script - but nothing like it is in DC's copy or the novelization...
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MB, wasn't Liz's remark in the original script for the Costume Ball sequence? Why I think that, I have no idea...
G.
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It didn't even dawn on me to check to see if Liz' quote came from a different scene that the calendar hasn't gotten to yet. And really it should have because using quotes from entirely wrong eps was one of the major problems with the 1990 Calendar Of Quotes from the daytime show. But I just checked the costume party scenes, and Liz only has one line in the script, and it's not the one on the Movie Calendar for 1/31. (It's part of Scene #107A, a 3/11/70 rewrite, in reply to Barnabas thanking her for the party.) And, interestingly, the scene doesn't even appear in the novelization. In fact, the only reference to Liz at the costume party at all is a mention of her in the background talking to Stokes while Carolyn is looking for Barnabas. Odd...
As for today's quote, what a surprise, it differs from what's on the calendar: Barnabas: 'I am Barnabas Collins. May I come in?" And that quote also doesn't appear in the novelization - the novel has the same quote that's in DC's script, which is what is delivered in the film, and what I've used for the slideshow.
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Today's and tomorrow's quotes come from an earlier version of another completely reworked scene (Scene #85). I'm getting the impression we're going to be seeing a lot of that...
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Today's quote comes from Scene #85 as it was actually shot. It replaces the quote which appears on the calendar for today: Roger - 'For a moment I thought the portrait had come to life.'
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I think what almost immediately follows this shot is the first shot of Barnabas in the movie. I always find that shot to be an unbelievably disappointing moment. Even at age 12 when I first saw the film I was sophisticated enough to find this visual introduction of the character to be beyond underwhelming.
On the whole, I actually find hoDS to be a visually compelling, occasionally even stylish film--that and the score are its strengths--but they really fell down in the filming of Barn's introduction to the Collinwood gang, in my not-so-humble opinion.
I'm guessing that this was one of those moments where they simply ran out of time and they were stuck using the best take from the rushes available for the final cut.
G.
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In the case of the above line of Roger's being from before Scene #85 was reworked, I can understand why it was dropped. If it had stayed in, it would have made Liz' similar comment in Scene #86 repetitious - whereas I think having Liz deliver her line while the audience sees a shot of Barnabas and the portrait is much more effective than having Roger refer to a portrait that the audience hasn't even seen yet.
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Once again we have a situation where quotes are out of sequence on the calendar. The quote from Scene #86 that appears on the calendar for today won't actually appear in the slideshow until tomorrow. After all the quotes for Scene #86 have appeared, I'll sort them out as I did with Scene #19.
As for Liz' quote on the calendar, it's much shorter: 'Carolyn, isn't it incredible? The likeness...'
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The quote that's on the calendar for Julia: 'Barnabas Collins? I was just reading about him in 1797.'
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Today's quote in the slideshow is very different from what's on the calendar: Barnabas - 'You were reading of my ancestor, Madam.' But then, what's on the calendar is in response to what's on the calendar for Julia's quote.
Today also happens to be the last time that quotes are out of sequence from Scene #86. The quote that appears on the calendar for the 6th should have appeared on the 7th, the quote that appears on the 7th should have appeared today, the quote that appears on the 8th should have appeared on the 6th, and the quote that appears for today should have appeared on the 8th. [snow_sick] By contrast, amazingly, and even though a few differ somewhat from what's in the novelization and the final script, the remaining quotes from Scene #86 do actually appear in the correct sequence on the calendar.
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What's on the calendar for today: Barnabas - 'How much you look like that portrait. Naomi Collins, isn't it?'
It's interesting how Liz' resemblance to Naomi was completely dropped from the final script, the novelization and the film.
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True, MB, but from this snap I actually can see (which I never was able to before over many viewings of this movie--I guess I just never thought to hit the pause button at this point) that they made a rather crude attempt to paint Joan's face on that portrait. So, presumably, there were instructions given to the set people that the portrait was supposed to resemble Joan Bennett.
G.
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from this snap I actually can see (which I never was able to before over many viewings of this movie--I guess I just never thought to hit the pause button at this point) that they made a rather crude attempt to paint Joan's face on that portrait. So, presumably, there were instructions given to the set people that the portrait was supposed to resemble Joan Bennett.
Though who knows for which version of the script the portrait was initially created? But at any rate, if some in the audience didn't even catch the resemblance, perhaps they didn't exactly do the best job - or maybe it was simply DC's fault for the way it was shot. [idontknow]
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It's funny how the whole idea of holding a costume party to welcome Barnabas into the family was cut and the first we even hear of the party is when Carolyn goes to see Barnabas at the Old House and simply comments to Willie that Barn can't be late for the party because he's the guest of honor. But then, actually establishing the party beforehand was apparently something DC felt was completely unnecessary - just like he felt that establishing the fact that Maggie was quitting was unnecessary. After all, was anyone bitten, beaten and/or impaled in those scenes? Did blood flow, spurt and/or pool? No - so snip snip snip. ::)
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MB, you really know how to crack me up. that's the kind of dry New England wit that made this country great!
I gather there were tech difficulties with this evening's hoDS snapshot? I have an empty box with a question mark in the middle and Flora's quote from 1841. I use Safari at home now so I know it isn't an IE glitch (yes dears... I use Safari on my NEW MacBook Pro... with Snow Leopard OS X! yee haw!).
not such a fuddy old duddy,
G.
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I'd forgotten that I hadn't done the capture for today - or uploaded the quote to the database. [6184] But everything is in place now.
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Such a wonderful capture of Mrs Pettibone & Roger today--the nicest shot of this bit I've ever seen. Love that we can glimpse Liz in the background as well. I'm of course forgetting the actress who played Mrs. P, and her scene in Leviathan was just discussed too. She had a wonderfully seedy way about her that of course comes through in a very different way of Mrs P who perhaps was Rockport gentry?
You know I really dig the snap of Mrs J in the other slide show today. I just love that apron.
cheers, G.
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Camila Ashland played the alcoholic Mrs. Hutchins in Leviathans (and other roles). "I'm not well!," tee hee.
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It's interesting to note the filming differences between the two movies. While HoDS was crisp and clear, NoDS had a more ethereal, misty style.
Gerard
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Camilla Ashland certainly looks far more elegant in hoDS than the audience had previously seen her on the daytime DS as Mrs. Hutchins in Ep #928 or Minnie Duvall in Ep #997 (which was broadcast before hoDS' release but actually taped after she'd shot her hoDS scene):
Mrs. Pettibone:
(http://www.dsboards.com/moviesquoteimages/0221hoDS_0.jpg) |
Mrs. Hutckins:
(http://www.dsboards.com/images/MrsH.jpg)
Minnie Duvall
(http://www.dsboards.com/images/Minnie.jpg) |
Love that we can glimpse Liz in the background as well.
Believe it or not, that's not Liz - it's just an extra in the foyer. But it's easy to see how you might mistake her for Liz because she's wearing a dress that looks similar to one of Naomi's from the daytime DS. ;)
Roger actually brings Mrs. P to Liz in the organ room:
(http://www.dsboards.com/images/Liz_MrsP.jpg)
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That's a wonderful gallery of Camilla Ashland's DS performances, MB. Now, if we just had a shot of her as Joanna Mills' landlady, the gallery would be complete! Not that I'm dropping hints or anything...
I love the shot of Mrs P being welcomed by Liz, and seriously hoping that the luscious pair of legs I'm ogling to the right end of the frame *aren't* those of Roger Davis...
The costume ball sequence really was the high point of the movie, wasn't it? I want to go home now and freeze frame my way through my VHS of the movie although that often just results in blurry, distorted images.
G.
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RD (along with Don Briscoe) is on the left side of the shot, so you're safe. ;)
As for today's quote, it's once again a cut scene that deals with Maggie leaving her job as governess. After David apologizes to Maggie, Roger points out how there will be a regime change once she's gone. (Though, of course, little does he know that thanks to Barnabas' upcoming intervention, Maggie won't be going anywhere. So much for that regime change. :D)
[Actually, I've always wondered what David Henesy thought of the final cut of the costume party because all of his scenes were completely cut. In fact, a good deal of the costume party ended up on the cutting room floor. A big portion of 2 days of shooting was all for nothing. But then, what was I saying the other day about sequences that didn't involve biting and/or blood? ::)]
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Today's quote comes from yet another scene that was apparently completely reworked because Stokes doesn't make any remarks that are even remotely like what appears on the calendar. He simply comments about Liz and Barnabas obviously being dressed as Naomi and the "original" Barnabas, and then muses about how they can do nothing about the attacks but that surely someone can talk Maggie into staying.
Too bad they dropped Stokes' quote because, without knowing it, Stokes would have been perfectly assessing the way Barnabas kept watching Maggie.
Though considering that even the reworked scene was cut, I suppose that ultimately it doesn't matter what Stokes said because the audience was not going to see it either way. ::)
(It's also interesting that neither version of the scene appears in the novelization. Although that probably has to do with the fact that the version that appears in DC's script is a revision dated March 11th, and apparently even the original version was a revision made to the script after the copy that was used for the novelization.)
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Today's quote comes from yet another cut costume party scene. In this one Barnabas has brought Maggie to the library so that he can lead up to asking her to stay.
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Today's quote is somewhat different from what appears on the calendar, but that's because it comes from a 4/27/70 revision. The calendar features: Barnabas - 'I am going to offer her what no other man can...Eternal life...Eternal love!' - no doubt referring to Maggie and not Josette. And interestingly, the scene was originally set in the basement of the Old House, not Josette's room. But then, that won't surprise anyone who has read the novelization.
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MB honey, you know I am just ADORING all the attention the slide show has been lavishing on this scene between Stokes and Julia. I've always loved the scene, and to get to study it in this intricate level of detail... FABULOUS. I particularly enjoyed yesterday's shot for some reason. Although it really made me think of how Johnny Depp may look in Julia drag...
G.
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You'll probably be happy to know that there's still more to come from Scene #119. ;)
Although it really made me think of how Johnny Depp may look in Julia drag...
Well, if anyone could pull it off, it's probably Depp. :D
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I'm afraid I missed the remaining images from this scene since I was out in San Francisco for a few days.
Dare I hope that I will get a shirtless snap of Don Briscoe, perhaps the fabulous one of him standing beside a classical bust, in the near future??
cheers, G.
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I'm afraid I missed the remaining images from this scene since I was out in San Francisco for a few days.
Well, here's a retrospective of the entire sequence (click on the images to see a larger version - click on the spoiler button to see the quote):
(http://www.dsboards.com/moviesquoteimages/0309hoDS_0.jpg) (http://www.dsboards.com/moviesquoteimages/0309hoDS_0.jpg)
[spoiler]hoDS: Scene #119 - Stokes: 'I
see you're still working on the
blood samples of the victims.'[/spoiler] | (http://www.dsboards.com/moviesquoteimages/0310hoDS_0.jpg) (http://www.dsboards.com/moviesquoteimages/0310hoDS_0.jpg)
[spoiler]hoDS: Scene #119 - Julia: 'I've
discovered a cell in these
samples that I've never seen
before.'[/spoiler] | (http://www.dsboards.com/moviesquoteimages/0311hoDS_0.jpg) (http://www.dsboards.com/moviesquoteimages/0311hoDS_0.jpg)
[spoiler]hoDS: Scene #119 - Stokes: 'Julia
-- do you believe in the existence
of vampires?'[/spoiler] |
(http://www.dsboards.com/moviesquoteimages/0312hoDS_0.jpg) (http://www.dsboards.com/moviesquoteimages/0312hoDS_0.jpg)
[spoiler]hoDS: Scene #119 - Julia: 'You're
not -- really serious --'[/spoiler] | (http://www.dsboards.com/moviesquoteimages/0313hoDS_0.jpg) (http://www.dsboards.com/moviesquoteimages/0313hoDS_0.jpg)
[spoiler]hoDS: Scene #119 - Stokes:
'You know there are many well
documented cases for it -- some
from the Twentieth Century.'[/spoiler] | (http://www.dsboards.com/moviesquoteimages/0314hoDS_0.jpg) (http://www.dsboards.com/moviesquoteimages/0314hoDS_0.jpg)
[spoiler]hoDS: Scene #119 - Julia: 'Well, I
know about the legends.'[/spoiler] |
(http://www.dsboards.com/moviesquoteimages/0315hoDS_0.jpg) (http://www.dsboards.com/moviesquoteimages/0315hoDS_0.jpg)
[spoiler]hoDS: Scene #119 - Stokes:
'There's no animal in this area
that attacks people for their
blood.'[/spoiler] | (http://www.dsboards.com/moviesquoteimages/0316hoDS_0.jpg) (http://www.dsboards.com/moviesquoteimages/0316hoDS_0.jpg)
[spoiler]hoDS: Scene #119 - Julia:
'Assuming you're right, this cell
that I've discovered would
indicate that this creature,
whatever it is, might be curable.'[/spoiler] | (http://www.dsboards.com/moviesquoteimages/0317hoDS_0.jpg) (http://www.dsboards.com/moviesquoteimages/0317hoDS_0.jpg)
[spoiler]hoDS: Scene #119 - Stokes:
'Vampirism is not a disease, Julia.
Vampires are the living dead.'[/spoiler] |
Dare I hope that I will get a shirtless snap of Don Briscoe, perhaps the fabulous one of him standing beside a classical bust, in the near future??
I haven't worked on anything beyond March 24th yet. But there probably won't be any coming up unless Todd is in the background.
Complain to the Fest. ;)
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The reason why today's quote is listed as coming from "hoDS: Scene #13?" will be explained tomorrow once the next quote appears in the slideshow.
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What a ravishing showcase, a beautiful tribute to a favorite scene.
Thanks, MB!
G.
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It's a bit of mystery to me where/how yesterday's quote (Stokes: 'There are two ways a vampire can be destroyed. By driving a wooden stake through the heart, or by using silver bullets') and today's (Sheriff: 'We've imposed a curfew on the town of Collinsport. No one will be allowed out after dark') fit into the hoDS script because neither is in DC's script or the novelization - nor are there lines that even slightly resemble them. One thing we can probably deduce, though, is that presumably they originally appeared somewhere between Scene #133, which we've already seen in the slideshow, and Scene #138, which we'll be seeing on Thursday.
There is a scene in the novelization of Roger and Stokes going to the sheriff's office to get him to go along with them to open Carolyn's coffin - but in that scene Stokes doesn't make any remarks about how vampires can be killed, and that scene doesn't appear in DC's script, so it's hard to tell if that was simply a scene that was made up for the novelization as a few were. Nor does Stokes make any remarks about how vampires can be killed in Scenes #135-#137, which deal with entering the mausoleum and opening Carolyn's coffin. It would seem that in Scene #137, which is the only one in the sequence containing dialogue, such a remark would make sense - as might the sheriff's remark that Collinsport is under a curfew. However, an interesting thing is that back in Scene #134 of the film, the one in which Julia treats Todd at the hospital after Carolyn has attacked him, Julia has already remarked about the sheriff having imposed a curfew, so it would seem superfluous for the sheriff to mention the curfew again in a scene that comes so closely afterward. But another interesting thing is that Julia's remark about the curfew in Scene #134 doesn't appear in DC's script or the novelization, leading me to believe that it was added at the point that the sheriff's line was dropped. But that still doesn't tell us where his line was originally - or where Stokes' was...
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Just a comment to acknowledge the luminous, quietly stunning beauty of today's shot of Grayson.
Many thanks for this, MB.
cheers, G.
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did ohrbach's spring for some new wardrobe for HODS???
i don't recall dr. hoffman's massively collared yellow blouse/red vest ensemble from the series.
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The ensemble you mention for Julia was new, and never worn by her on the series. I think the other clothes she wore were recycled from the show. I still don't understand why they made Joan wear the infamous lurid chartreuse shroud dress--it dated to 1966! I would have thought she would have put pressure to get it changed but perhaps at that point in the proceedings she no longer cared.
hoDS set flunky to Joan: "Hey, aren't you Joan Bennett?"
Joan: "I used to be."
G.
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It's an interesting question as to whether the new clothes came from Ohrbachs. I don't *think* they get a credit in the movie like they do on the series. And Ramse Mostoller is credited as "Wardrobe Designer." It would be interesting if she actually designed some of the clothes for the film.
But at any rate, here's the capture:
(http://www.dsboards.com/moviesquoteimages/0327hoDS_0.jpg)
As for Liz' outfit:
(http://www.dsboards.com/moviesquoteimages/0115hoDS_0.jpg)
I suspect Joan Bennett might have really liked it because she also wore it when she appeared on The Governor & J.J. in November of '70.
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MB, honey, you really and truly blow my mind! I loved the Governor and JJ, one of those forgotten series, but to actually be able to remember what Joan wore... I must have missed her appearance on the show because I am sure I would have remembered at least the fact of her being on it.
If she wore it on that show, presumably it was from her personal wardrobe.
G.
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Well, it's a "memorable" outfit - one that's certainly hard to forget once you've seen it. [laughing11]
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The Gov & JJ ep has screened at the last couple of Fests, and considering the repetitiveness of material shown at the events, I'm sure you'll have a chance to see it at the next one you attend. And the one after that...
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as threadbare as the chartreuse caftan thing must have been by 1970 it looks like that at the time of it's purchase it was rather expensive and somebody...be it joan bennett or ramse mostoller or dan curtis or the suits at abc...decided to get their money's worth!
remember how mesmerizing it was when you first saw that god forsaken thing in color?
perhaps if this garment was bennet's own it was not in fact bought at ohrbach's but at some swanky and long-defunct department store like bonwit teller or i.magnin. dreamy!
speaking of which the tradition of the caftan and the soap dowager is as time honored as the character itself. soap operas in the 1960's and 1970's loved to cast some down-on-her-heels actress from hollywood's "golden age" as some sort of grand matriarchal figure.think of not just joan but ruth warick as pheobe wallingford and anna lee as lila quartermain on "all my children" and "general hospital" respectively...all grand dowagers on their soaps and all costumed in variations of some floaty chiffon caftan,loads of costume jewelry and topped with some sort of ridiculously elaborate,overly glazed architecture as a hairdo.
me thinks that this type of get-up is supposed to make their characters look "regal" or at the very least rich. at least that's how it was done in the 1970's...i don't watch soap operas anymore.
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We're getting dangerously OT with this BUT when they show it, don't they normally show The Gov & JJ during the banquet? I can honestly say that I've never seen it at a Fest. But then, I've only attended one banquet - and only part of a banquet at that. Or maybe they've shown it in the mornings when I haven't even gotten up yet because I'd been up to the wee hours of the morning. [b003]
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Thanks, Midnite! yes, they screen some material over and over and over again, but can Pierson be bothered to take the time out to return Grayson's Playtex commercial to her eagerly awaiting fans? Aber nein! *sobs*
I was thinking about Grayson's One Life to Live episodes this morning, for some reason, and wondering whether I'll ever get the chance to see more of them. I just love how grandly she chews that rather threadbare scenery as Euphemia Ralston.
MSC, I am dying here from your descriptions of Ruth Warrick (who earns an honorary place in DS heaven since she played Big Lou's spouse on another soap) and Anna Lee, especially the glazed architectural hairdos! LOL! I think there's something distinctly Lady Bird Johnson about Joan's later (circa 1970) do.
G.
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MB, at the Burbank Fest in '08, it was shown on Saturday before all the panels-- that was the first time I'd seen it. But I really couldn't tell you where it fell on the schedule in '09.
Joan plays a madam in the episode, and I don't mean that in the matriarchal sense. ;)
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Getting back on topic, it's unfortunate that today's quote (hoDS: Original Scene #169 - Carolyn: 'You want to be with me, don't you, Todd? Hold me close, very close.') was cut from the script. Breathy cooing seems to work wonders on male vampire victims. (Just look at the effect it had on MTW's Joe in the '91 series. [naughty]) But no - it was all down to business after Todd's first attack. Oh, well...
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It's interesting that in an early version of the script the sheriff was to have been at Collinwood dealing with the aftermath of Carolyn's staking. It does make sense. But in the long run it really doesn't matter that he was dropped because Scene #178 doesn't even appear in the film...
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The next three days of quotes all come from Scene #180, which is one of the scenes DC decided not to shoot at all. It deals with Stokes' attempt to impress on Julia how important it is for her to continue her research on the blood samples. She eventually claims to be going to the hospital to get back to her research - but little does Stokes know where she's really going. [wink2]
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Today's quote is the first of several that were apparently removed from an early draft of Scene #184. This particular quote does not appear in the novelization - but several others do. In fact, the scene plays quite a bit differently in the novel. I don't know if some of the differences were the inventions of Marilyn Ross or not because I don't have a copy of the script that was used for the novelization (or the calendar). But as I said, a lot of the lines that appear on the calendar but don't appear in DC's script (which contains a 3/19/70 revision) do appear in the novelization. And if you have a copy of the novel, it's really worth reading how the scene plays out in it...
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I remember a scene in the Old House drawing room where Barn offers Julia some sherry, which she praises as "dry! lovely!"
I lost my copy of that book somewhere dans les brumes de l'antiquite, as the saying goes, alas...
G.
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there is a novelization? wow things still to learn ... [ghost_tongue]
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Unfortunately it is by the dreadful Dan "Marilyn" Ross... as I recall it, this one does actually have some decent bits, such as the scene under discussion--all no doubt cribbed from Sam and Gordon.
G.
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The hoDS novelization follows the script very closely with only a few embellishments here and there. It's just too bad there never was a NoDS novelization...
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The full quote on the calendar for today is actually: Barnabas - 'You were very brave to come here, Doctor. Now put that cross away.' However, in the reworked version only what's quoted in the slideshow remains.
One interesting things is that the full quote was supposed to take place in the drawing room and not on the landing as the scene plays out in the film.
Another interesting thing is that 'You were very brave to come here, Doctor,' was resurrected and used in the '91 series' equivalent of this scene, which actually does take place in the drawing room.
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Again, I'm seeing a sequence that has always been one of the few highlights of hoDS through new eyes thanks to the current wonderful selection of captures.
Unlike many other parts of the movie, this scene did present a pivotal moment in the drama where notes of character came strongly to the fore, despite DC's determination to focus on action, blood, and carnage as much as possible.
Wonderful series, MB. Thanks!
G.
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We're probably just lucky that scene is as good as it is because the original version was much more character oriented but, of course, many of those elements were dropped in the rewrite...
The worst thing is that Scene #186 ended up on the cutting room floor. But I'll save my rant about that for when it comes up on the calendar/in the quotes on the 23rd...
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A variation on today's dropped quote: Julia - 'Then give me the chance to conduct this experiment on you,' was also resurrected for the '91 series' equivalent of this scene.
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It really is a terrible shame that Scene #186 ended up on the cutting room floor. True, some of the same material in terms of storyline is covered in Scene #187. But Julia's walk with Barnabas would have been an excellent counterpoint to his walk with Maggie later on - particularly considering how Julia witnesses that walk. But quite obviously DC wasn't interested in such character oriented matters. [ghost_angry]
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Just a note to thank you MB for those wonderful Julia closeups on display earlier this week (maybe these were for scene #187?). I particularly liked one where she was either saying the line about the sheriff thinking the vampire has left the community, or about their likelihood of complete success in the treatment. Grayson managed to look almost like a schoolgirl about to be taken out for a treat at that moment. marvelous capture.
And of course you know how much I love the one of Julia hovering in romantic rhapsody over the music box...
If only the actors had been allowed to play out the denouement with some degree of tragic subtlety. Instead, we got DC's dream of becoming the Sam Peckinpah of the horror set.
G.
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I particularly liked one where she was either saying the line about the sheriff thinking the vampire has left the community, or about their likelihood of complete success in the treatment.
It was probably this one:
(http://www.dsboards.com/moviesquoteimages/0426hoDS_0.jpg)
hoDS: Scene #187 - Julia: 'It would be pointless now
anyway. We must wait until we achieve total success.'
Grayson managed to look almost like a schoolgirl about to be taken out for a treat at that moment.
That's the quality I tried to capture. [ghost_smiley]
And of course you know how much I love the one of Julia hovering in romantic rhapsody over the music box...
That's a great moment in the movie:
(http://www.dsboards.com/moviesquoteimages/0427hoDS_0.jpg)
If only the actors had been allowed to play out the denouement with some degree of tragic subtlety. Instead, we got DC's dream of becoming the Sam Peckinpah of the horror set.
That was certainly his mindset, alas...
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The really interesting thing about today's quote from cut Scene #193: Willie - 'He's going to do the same thing to Maggie he did to Carolyn. He's going to make her a vampire!' is that Barnabas actually had no intention of turning Maggie into a vampire. Barn wanted to marry Maggie and have them live a completely human existence. But then, back in Scene #189 Willie made it clear that he wanted to completely ignore the dramatic changes in Barn, so it's not like Willie could have been paying very close attention to what was actually going on...
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The quote on the calendar for today for Scene #199 is longer that what appears in the the film, the script, and even the novel: Stokes - 'Why did you do it? You're a doctor. You have a responsibility to humanity!'
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I've been waiting and waiting for the scene where Stokes says, "My, God, Julia, you're in love with him!"
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Today's capture from hoDS is brilliant, and beautifullly counterpoints the capture from the show, with Alexis telling Hoffman that they're engaged in a war of nerves--one of my favorite scenes for the vicious verve with which Grayson bites off the line, "I HATE having to take orders from her!
I love the naked outrage in Julia's eyes when Stokes leaves her room in that scene in hoDS...this is one lady you DON'T want to cross.
Excellent work as always, MB!
G.
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And wow, an even more powerhouse pairing of Julia/Angelique shots today from hoDS and DS respectively.
Standing and Ovating, O most mysterious of Benefactors! You're a gem.
Best, G.
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I've been waiting and waiting for the scene where Stokes says, "My, God, Julia, you're in love with him!"
And you've gotten it today. [ghost_wink]
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Here's a retrospective of the entire sequence (click on the images to see a larger version - click on the spoiler button to see the quote):
(http://www.dsboards.com/moviesquoteimages/0519hoDS_0.jpg) (http://www.dsboards.com/moviesquoteimages/0519hoDS_0.jpg)
[spoiler]hoDS: Scene #199 - Stokes:
'Julia, let's not play insane
games! I know the truth about
Barnabas Collins and so do
you!!'[/spoiler] | (http://www.dsboards.com/moviesquoteimages/0520hoDS_0.jpg) (http://www.dsboards.com/moviesquoteimages/0520hoDS_0.jpg)
[spoiler]hoDS: Scene #199 - Stokes:
'But in heaven's name, why
did you do it?'[/spoiler] | (http://www.dsboards.com/moviesquoteimages/0521hoDS_0.jpg) (http://www.dsboards.com/moviesquoteimages/0521hoDS_0.jpg)
[spoiler]hoDS: Scene #199 - Julia:
'There haven't been any attacks
in Collinsport for over a month
now --'[/spoiler] |
(http://www.dsboards.com/moviesquoteimages/0522hoDS_0.jpg) (http://www.dsboards.com/moviesquoteimages/0522hoDS_0.jpg)
[spoiler]hoDS: Scene #199 - Stokes:
'Are we simply to forgive and
forget those -- merely because
you're attempting to cure the
monster responsible!!'[/spoiler] | (http://www.dsboards.com/moviesquoteimages/0523hoDS_0.jpg) (http://www.dsboards.com/moviesquoteimages/0523hoDS_0.jpg)
[spoiler]hoDS: Scene #199 - Julia:
'He is not a monster!'[/spoiler] | (http://www.dsboards.com/moviesquoteimages/0524hoDS_0.jpg) (http://www.dsboards.com/moviesquoteimages/0524hoDS_0.jpg)
[spoiler]hoDS: Scene #199 - Stokes:
'Julia! You're in love with him!!
Well, I pity you. You know
Maggie Evans is the only
woman he's interested in.'[/spoiler] |
I'm sure I'm not alone in feeling it's one of the better scenes in hoDS...
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You're not alone. I think it was a terrific scene.
Nancy
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MB, you are truly a DOLL. thank you thank you thank you! *swoons*
Grayson and Thayer are on fire together in this scene. If only, if only, the rest of the movie had been on this level. I do look forward to the movie being released on disc precisely for this scene and a few other moments, such as the Old House sequence with Julia confronting Barnabas, Grayson and Thayer's kitchen/lab scene, the costume ball etc.
G.
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The interesting thing about today's quote from Scene #201 is that both on the calendar and in the script it appears as: Barnabas - 'I feel as though I'm beginning life all over again -- and you're responsible for that feeling.' I honestly think it works better the way Frid delivered it in the film: Barnabas - 'I feel like I'm beginning a whole new life -- and you're responsible for that life.' Changing 'feeling' to 'life' makes his statement more powerful.
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What a beautiful capture of Grayson Hall today!
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And here it is:
(http://www.dsboards.com/moviesquoteimages/0529hoDS_0.jpg)
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Thanks very much, MB!
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A memorable shot indeed, although the shot just before Barnabas enters the room of Julia smoking, having spent herself in rage and frustration, completely exhausted emotionally, was even more unforgettable.
G.
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And now comes today's capture--I'm practically in a state of feverish ecstasy at the sight!!! Grayson IS Goddess!!!!
I'm looking at it thinking "You want Miss Raspberry Soda of 1969 instead of this VISION of Divine BEAUTY?"
(Apologies in advance to fans of TLATKLS. Even if I'm remembering Grayson's crisply-uttered, no-nonsense line in a certain fan interview: "Katie Scott ISN'T a star.")
G.
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And here it is to hopefully inspire others to reach a state of feverish ecstasy. [b003]
(http://www.dsboards.com/moviesquoteimages/0601hoDS_0.jpg)
Also, I forgot to mention the other day that the quote on the calendar is different from what I used. The full quote is: Barnabas - 'When I am normal I'm going to ask Maggie to marry me!" However, it's not that way in the script or even in the novel, where the scene is longer than in the script.
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Of course, I adore the one from today, too. Those eyes speak volumes of silent reproach.
G.
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Today deserves a special floatie or some sort of hallmark because we finally get Barn saying THE line from the show and the movies: "You have BETRAYED me!"
For some reason, back when I first saw all of it, it never occurred to me how melodramatic--not to mention self-aggrandizing (lol)--that line was. It just really seemed to suit the character that he would say such a thing. Over and over again. (although I think in practice he only said it a couple of times?)
G.
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Those eyes speak volumes of silent reproach.
And here's that capture as well:
(http://www.dsboards.com/moviesquoteimages/0602hoDS_0.jpg)
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Thank you for the screen cap of Grayson from House of Dark Shadows. This is absolutely one of my favorite moments from the movie mainly because "BARNABAS your face!! Your faheyheyheyheyace!" is a hysterically funny delivery, at least to me, in a horrible moment! It's one of my friends and I often quote! Thanks MB!
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Thanks for moving this as I wasn't aware of this thread. Sorry for the trouble! I gotta get a hold of the interview which she says that about Katie Lee Star! HA! Grayson was a trip.
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Taeylor, I also love how Grayson says that line, and that capture of her was such a vivid image of how grandly she played that scene.
I just looked at the Pom Press publication of the screenplay; my, there are a lot of scenes that are missing from the version as we have it, aren't there? And Barnabas says "You betrayed me!" in the movie twice--first, to Willie, while he is beating him in a rage; and to Julia just before he kills her.
G.
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Taeylor, I also love how Grayson says that line, and that capture of her was such a vivid image of how grandly she played that scene.
And here it is:
(http://www.dsboards.com/moviesquoteimages/0605hoDS_0.jpg)
I also love the look on her face when Barnabas first enters her room. But she doesn't say anything so, of course, that moment isn't part of the slideshow. [ghost_wink]
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I guess it's been a REALLY long time since I watched hoDS all the way through. When I revisit the film, I typically switch off the tape after Grayson's big line, "Your FACE!" So, it comes as a surprise to see as Maggie Evans' doctor none other than the nefarious Nicholas Blair! I had vaguely recalled that Humbert had a brief appearance in the film, but I don't remember him being this clearly on camera.
Last night I got out the tape to watch certain scenes. I found myself wondering whether "Nurse Shepherd" is on camera at Stage Left in Julia's first scene, when she's treating Daphne at Collinwood.
I read in an old issue of Castle of Frankenstein that Bob Cobert had a "cameo" in the costume ball sequence, but couldn't spot him. I did find myself wondering who played "John" and the other young man with him.
I again wondered why Jeff got Maggie a glass of punch but nothing for himself. Trying to get our date tipsy, are we?
G.
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Apparently at a point early on some characters were shifted around in Scenes #207 and #216 from what they now are in DC's script and even in the novelization. In Scene #216, Stokes asks Roger where the books of family history are kept - but on the calendar for yesterday, Stokes asks Mrs. Stoddard. And on the calendar for today, Stokes' quote from Scene #218 refers to "the very old man David saw" - not the one Mrs. Stoddard saw (in Scene #207). Interesting...
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One interesting thing about Scene #224 is that, even though it's a 3/19/70 rewrite, save for one line that the sheriff delivers about the silver bullets being able to kill Barnabas if he's shot through the heart, the scene is virtually identical to the previous version.
And another interesting thing is that in no version of the scene is David supposed to be there. But apparently David Henesy was on location when they shot the scene, so there he is.
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And once again a quote on the calendar that doesn't appear in either DC's script (either version of Scene #224) or the novelization.
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Something that I found interesting in Scene #225 is the time frame is totally different in DC's script than it is in the actual movie. In the script King Johnny, er, I mean the Old Man says that Roger and Stokes gave him the note for Jeff at five-thirty and the current time is seven o'clock - whereas in the movie he says they gave the note to him at five o'clock and it's currently six. But what's even more interesting is that the novelization has the same times as the movie.
Who knows why the time changed? And why they changed it back again? But there it is...
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Gosh, we leaped dramatically forward today, didn't we? I'd hoped for at least a glimpse of Vampire Stokes. He must really have been famished to want to make a meal out of something as unsavory as Jeff.
Today's capture reminds me that the rooms at Lockwood Matthews were my favorites in terms of set decoration. Again, it's been a really long time since I last saw these scenes, but this snapshot shows off Maggie's boudoir as a Goth chick's idea of Heaven (or would that be Hell? heh, heh). Lovely choice, MB.
G.
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Gosh, we leaped dramatically forward today, didn't we? I'd hoped for at least a glimpse of Vampire Stokes.
Unfortunately there isn't any dialogue in Scene #226 from the point that Stokes reveals himself onward - only grunts - but those aren't scripted. [ghost_wink] And even though it doesn't appear in the movie, Jeff is scripted to have dialogue in Scene #230 (in which he finds Roger), but whoever put the calendar together chose not to quote it. So, the next scene with dialogue is Scene #232 - and as we'll see, the calendar actually quotes quite a bit of it. [ghost_smiley]
He must really have been famished to want to make a meal out of something as unsavory as Jeff.
Indeed! [ghost_shocked]
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I can quite honestly say that when Barnabas delivers today's quote (Scene #237 - Barnabas: 'I've waited so long for this moment -- Josette!') it's the one and only moment in hoDS that I feel any sympathy for him - and DC would probably be horrified if he ever knew that anyone in the audience felt anything but revulsion that Barnabas might actually be getting away with his dastardly plan. Though IMO the movie would have been far more interesting had Barnabas been much more sympathetic - and quite possibly had he actually ended up with Josette in some way. But, of course, that's not the movie DC wanted to make, so that's not the movie we got.
All that being said, though, hoDS does actually have some beautifully staged sequences - and this is most definitely one of them.
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Some notes from my first viewing of the final reel in maybe fifteen years:
Julia, who is supposed to have rushed from the Old House to Collinwood after administering Barnabas' final "treatment," manages to change dresses along the way. Just another trick up the sleeve of a physician with a specialisation in vampirism?
I had completely forgotten the scenes of Stokes visiting the deserted Old House. It looks as if these may have been filmed around the same time as the sequences early in the picture when Maggie and David are there. Although barely half a day has elapsed since the departure of Barnabas and Willie, the house is again in ruins, with masses of dead leaves lying around the foyer and the front door standing up. I did find this an effectively macabre touch even though it seemed strange that the cobwebs had grown back so quickly.
Vampire Stokes has a really scary, crazy laugh when he attacks Jeff. The shot of the dead Stokes (lying in what must have been freezingly cold waterl) should have been cut a few seconds earlier because we see his hand move. Nice attention to detail, DC.
More viewing notes to come...
G.
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A second relay of viewing notes from the final reel:
Old Barnabas really is one of the most fabulous ghouls of the silver age of horror (the Sixties/Seventies period, which pretty much ends with Texas Chainsaw Massacre and the takeover of the genre by splatter nasties). Frid's body movements in this role are so subtle, and add to the menace, as does Arthur Ornitz's camerawork. There are signs here of DC's love of excess starting to take over, which really kicks in once we get to Lockwood Matthews.
I'm stunned at what the art director was permitted to do at Lockwood. I mean, he dragged what seems to be an early 19th century cannon into the drawing room! It all looks as if days, if not weeks, must have been required for cleanup. But the results look superb on screen. What I recall so well was being completely confused at this point in the story as to where we were. They needed at least a snippet of dialogue about their having been an abandoned monastery on the island. There's only a brief establishing shot of the house, with an ominous sting on the soundtrack. I had no idea what that house was or why Barnabas et al had retreated there, on my first viewing.
Josette's wedding dress always looks more Spanish than French to me. I love how her dreamlike descent to the waiting Barnabs is filmed. And his line, when he takes her hand and speaks of how long he has waited for her, is a very poignant moment. It would have helped a lot if the character had been allowed any time to speak about his motives, or express remorse for some of his obviously disastrous temper tantrums (the whole Carolyn thing--when you think about it, Barn seems to have been acting out of pure headstrong impulse with no consideration at all for consequences).
My biggest complaint about the big showdown is the same now as it was forty years ago. That overdone use of echo chamber FX and the Sam Peckinpah slo-mo thing makes this sequence so very cheesy. The one element that I thought gave it an air of tragedy was the beautiful "lament for Barnabas" composed by Cobert, I think originally for this scene (and re-used subsequently in the Jack Palance Dracula and I think a number of other DC projects). Even as a 12 year old I was very disappointed in the cheesiness of how the climax was filmed and edited. I can understand why Frid felt he had been doing "pornography" once the project had been completed--and why he strenuously refused to do a sequel.
I had missed one final flourish of FX at the very end of the credits roll. When the bat flies up, there's actually a camera trick where Barn's corpse disappears, leaving only the mist weaving around the coffin.
It's really too bad that the tag scene, included in the novelization, wasn't filmed. It would have helped give more of an air of resolution to the proceedings. That feels very badly needed in the wake of how the picture wound up ending in the final cut.
G.
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I can understand why Frid felt he had been doing "pornography" once the project had been completed--and why he strenuously refused to do a sequel.
I also loved when Frid commented on a talk show appearance to promote hoDS that the film was just "one sledgehammer scene after another." Gee, ya think?
It's really too bad that the tag scene, included in the novelization, wasn't filmed. It would have helped give more of an air of resolution to the proceedings. That feels very badly needed in the wake of how the picture wound up ending in the final cut.
I believe that scene was the invention of Dan "Marilyn" Ross because it doesn't appear in DC's script. Though I suppose it may have been a part of some earlier version(s) of the script and then dropped during the rewrites...
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Yeah, it seems clear from the number of quotes on that calendar that there was at least one other version of the screenplay that the rest of us haven't seen. Hopefully Pierson will make it all available to Darren for the DVD release. (Just looking back at the start of this topic in July '09 and now really wondering whether we're going to see the release of the films this Oct. as initially stated.)
G.
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Today's quote from hoDS marks the end of the first run of this slideshow. Tomorrow the second run will begin with quotes from NoDS. Anyone who may have questions about any of the quotes should be able to find the answers in the posts that have already been made in this topic (the dates of the quotes will coincide with the dates of the posts). However, if that's not the case, please feel free to post a new question in this topic. [ghost_smiley]
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I just loved Grayson's radiant smile in her entrance (in the film as we have it now) as Carlotta. For some reason, proably the angle of the shot, her smile made me think of the young Diane Keaton, which was a big surprise--they certainly bore no resemblance to one another.
It isn't really the right thead for this, but the portrait of Liz doing her Big Reveal from a day or two ago was awesome. And of course I love today's two-shot of PT Ange and PT Roger. What a wonderful moment, and how artful of you to capture it.
G.
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This could quite possibly be the most attractive shot of Grayson on film - ever:
(http://www.dsboards.com/moviesquoteimages/0708NoDS_0.jpg)
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God, the image that is about to be replaced from the piano scene really has me jonesing for the restoration to be finished!
I just love how bitchy Ange is in that scene!
G.
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Yes, I love that photo:
(http://www.dsboards.com/moviesquoteimages/0811NoDS_0.jpg)
NoDS: Scene #67A - Angelique: 'Oh, he knows what's
happening, Laura, my darling, and for the first time in his life
he's really enjoying it.'
I loved the footage from that scene even without the dialogue. I imagine it's amazing with it!
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Love both the slideshows today. NODS--wow, Grayson has arms! they're very fair!
And I love the #557 quote: "We'd be responsible for creating a a race of monsters!" And the subtext (in my head at least)..."and if we aren't going to do it the usual way with you on top of me--forget it!"
About the NODS shot above, a friend of mine who was trolling through photos in prep for the DSFest slide show a few months ago, also said the same thing.."That's Grayson?! wow she looks beautiful!" My very dry reply--"well that's what happens when an actress finally puts her foot down and makes a few demands on her wardrobe, makeup and lighting---"
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A little late - but here it is:
(http://www.dsboards.com/moviesquoteimages/0813NoDS_0.jpg)
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Glad I was able to catch tonight's exquisite, mystical portrait of Carlotta Drake in the NoDS slide show. I used a very similar shot from this scene in a collage I did in Grayson's honor last year.
Also love the snap (and the dress she's wearing) featured immediately above. One year, I think it was 1999 or 2000, the DS Festival calendar had a gorgeous still of Grayson from that scene--it was a shot or a moment that wasn't used in the final edit of the movie. I've always wanted to have that picture framed because it just captures Grayson so beautifully.
Off on vay-kay and unplugging from the Internet for a week--enjoy Dark Shadows, everybody!
cheers, Gothick
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Glad I was able to catch tonight's exquisite, mystical portrait of Carlotta Drake in the NoDS slide show.
And here it is:
(http://www.dsboards.com/moviesquoteimages/0829NoDS_0.jpg)
Also love the snap (and the dress she's wearing) featured immediately above. One year, I think it was 1999 or 2000, the DS Festival calendar had a gorgeous still of Grayson from that scene
It was the 1999 calendar:
(http://www.dsboards.com/images/NoDS_Cal-7.jpg)
I've always wanted to have that picture framed because it just captures Grayson so beautifully.
Indeed it does. And even though he isn't identified, I suspect Selby fans might consider that it captures one of his attributes 'so beautifully' as well. [b003]
Off on vay-kay and unplugging from the Internet for a week
Enjoy yourself.
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And even though he isn't identified, I suspect Selby fans might consider that it captures one of his attributes 'so beautifully' as well. [b003]
[ghost_grin]
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And even though he isn't identified, I suspect Selby fans might consider that it captures one of his attributes 'so beautifully' as well. [b003]
I'm not sure how Grayson kept for looking to her left...maybe that's what the concentrated look is about.."I mustn't look at that lovely rounded--oh damn Sam is looking this way!"
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Mysterioso carissimo, you came through again! Thanks for the wonderful scan of the old calendar photo. I LOVE it!
Selby's derriere is telegraphing a very clear message to me in that shot but I doubt whether it was the one intended by anyone involved... rrrROWWWRRRRrrrr!
Best,
G.
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Might we get today's capture, of young Sarah with her doll, into Caption This! or Complete This Phrase / Fill In The Blank(s)? I'm seeing possibilities there, although nothing has coalesced in my head yet.
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It can easily be added to both. [wink2] I'll post it to the movie's Caption This! board. And if you can think of a set up for its Complete This Phrase / Fill In The Blanks board, just post it and I'll add the capture for you. :)
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Thanks, MB!
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I loved the gorgeous close-up of Carlotta on display here earlier this weekend. Beautiful work, MB.
G.
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(http://www.dsboards.com/moviesquoteimages/1113NoDS_0.jpg)
NoDS: Scene #153 - Carlotta: 'Did you ever stop to think that
perhaps you don't belong here?'
One of my favorite moments in the film simply because of the gall it took for Carlotta to say that to Tracy's face. Though, of course, Carlotta doesn't see it that way...
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Never noticed Carlotta is wearing earrings before...she's too glam to be a housekeeper, I can't see her on her hands and knees with the TiddyBowl man and a scrub brush...but then I guess that's actually the "maid's" J.O.B.
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Julia, this snapshot also gave me my first look at Carlotta's earrings.
She is so utterly GLAM!
Worshipfully,
G.
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Today's shot of Liz and Daphne is just one of those moments of serendipity--if only the dialogue had been something like this:
LIZ: Don't even THINK of trying to outdo my trademark big hair, bitch! I AM the Mistress of Collinwood!
Just a fab moment. Thanks, MB.
G.
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[laughing4]
And here's the capture (not to be confused with today's):
(http://www.dsboards.com/moviesquoteimages/0113hoDS_0.jpg)
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I wonder which room scene #44 was filmed in? Supposed to be the Old House but I would bet it was somewhere in Lyndhurst?
G.
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According to the documentation I have for hoDS, Scene #44 was shot during the period that production had moved to Beechwood and Lockwood-Mathews - but strangely it doesn't say which house it was shot in...
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Cool. Where was Beechwood? Does it still exist? I wonder whether Googly-goo can help....
Best, G.
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Midnite posted some photos of her 2004 trip to Beechwood in this post:
DS Sightseeing
(You might even recognize a certain someone in the first photo in the topic. [wink2])
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Gawd.
Just to attempt to establish that I'm not a complete amnesiac,I don't think I tagged along for the trip to Beechwood/Scarborough--that, I think I'd remember. I do have a vague memory of the lovely meeting in the restaurant.
Given how very vague these memories of events that happened only 7 years ago are, I have a lot more sympathy for some of the DS stars who say they can't recall anything about shooting the series!
G.
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Gothick, Guy and I made the side trip to Scarborough on the way to meet up again with you and the rest of our group in Tarrytown.
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Just have to say how much I love, love, love that image of Grayson with Dennis Patrick. It's really funny to think of what they were shooting in Leviathan just a few weeks before they did this scene.
Julia Hoffman, Queen of the Big Hair Red Hot Mamas! Go grrrl!
G.
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did they do grayson's hair differently for the movie?
i don't EVER recall her hair being that big on the series.
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Here's the capture:
(http://www.dsboards.com/moviesquoteimages/0121hoDS_0.jpg)
And as I've often said on the forum, I swear Julia's hair was inspired by this:
(http://www.dsboards.com/images/hair.jpg)
[lghy] But particularly in later scenes in the film.
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[lghy] But particularly in later scenes in the film.
So cruel...you know I actually think that is her real hair (though fans joke about her bad wig)...obviously Edith did catch Grayson after after she awoke from catnaps.
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No intention of trying to be cruel - just showing the possible inspiration. [wink2]
One thing's for sure, regardless of what anyone may think of Julia's hair in the film, I honestly believe all would agree that it's infinitely better than the football helmet wig. Talking about cruel - forcing Grayson to wear THAT was cruel!!
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If it's not too much bother, just to whom was Professor Stokes speaking in today's never filmed quote?
I'd guess the Sheriff...
G.
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Unfortunately, I've not a clue who Stokes was speaking to. The quote must come from some early version of the script because it doesn't appear in DC's script. It doesn't even appear in the novelization.
The only thing I do know is that the scene the quote is taken from took place during the costume party after Julia tried in Scene 107 to pin down Barnabas to set a time when they could get together to talk about the "original" Barnabas' supposed memoir and before Barnabas started to talk to Maggie in the library in Scene 109. In DC's script the scene that the quote must have come from is replaced by a 3/11/70 revision that features Stokes talking to Liz and Barnabas (and as it is all three of those scenes ended up on the cutting room floor).
Perhaps the version of the scene featuring Stokes' quote also featured Liz, Barn and Stokes - but that's merely a guess...
Here's a link to what I originally wrote about the quote:
Today's quote comes from yet another scene that was apparently completely reworked because...
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Thanks, MB. Again, I really wish the costume party sequence had been the length originally planned! Ah well...
G.
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Today's scene from hoDS provides one of the few moments where the feature film actually evokes the mood of the original. Candles flare before Josette's musty portrait, her music box plays on the soundtrack counterpointed by Frid's melancholic, richly upholstered tones; the dialogue speaks of eternal love, eternal life. And only seconds the later the scene shifts to a moment of hysterical, brutal, pointlessly provoked carnage. It's definitely a moment that pinpoints why so many veteran fans were so disappointed in the movie.
G.
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I couldn't agree with you more, Gothick. And it's worth noting that the scene as it appears in the movie is a rewrite that was added on 4/27/70 (more than a month into shooting), and the original version possessed none of the mood of the rewrite. It was a scene that took place in the basement of the Old House with no mention of eternal life and eternal love or appearance of the music box - just Barnabas and Willie arguing, Carolyn arriving and arguing, and Barnabas attacking and demanding Carolyn be taken away. Violence and gore, pure and simple. And considering that that's what's stressed throughout most of the movie, it seems like a miracle that the rewrite was not only added to the script, but that it actually made it into the final cut of the movie.
Here's the capture/quote:
(http://www.dsboards.com/moviesquoteimages/0306hoDS_0.jpg)
hoDS: Scene #113 - Barnabas: 'I went to her that night and
offered her eternal life, eternal love.'
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I was in the mood this a.m. to watch some hoDS, mainly to look at setting details and such, so I popped in my trusty VHS recording of the film (taken from the Laserdisc release). One detail I noticed this time around I don't recall having made note of in prior viewings is that when Maggie goes into David's bedroom, it looks as if there is this small mirror on a stand rigged to one of the posts of the bottom area of the bedstead. The small rectangular mirror, if that's what it is, appears to be angled towards the closet. In the original sequence, Maggie walks to the closet and sees David hanging from a noose (not sure about the action, if any, beyond that). If what I am looking at is indeed a photographer's mirror, it would have been set up on that rig to assist in accomplishing one of the shots in the "hanging David" scene.
I just love little details like this...
I have to say I thought it was really unfair that Lela Swift did not get a credit for her work as DC's unofficial AD. Someone named Gerrity gets official credit as the AD, and Trevor Williams (I think) appears a production designer, but no sign of Lela.
G.
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Ooh, the yummy Mr. Briscoe is featured in the slideshow today! Thank you!!!
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Another gorgeous shot of Grayson today. That outfit seems to have been the one new ensemble that Julia was given to wear--the outfit she wears in a later crucial scene with Barnabas, accessorised by a beautiful scarf, may have been new as well,I'm not sure. This vest themed ensemble is absolutely cutting-edge Seventies and a complete departure from the other wardrobe she had on the series.I really like her hair in this scene, too; it's much more under control than is the case of much of the rest of the movie.
G.
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I just keep coming back to today's photo, and just figured out why; in my perverted little mind, this is Julia's line to the Vulnerable Vampire:
"Barnabas, we have a change of pace tonight. Tonight, I'd like YOU to play Doctor, Barnabas."
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Grayson exudes such fragile, vulnerable, tragic, weary beauty in tonight's shot. The shot immediately preceding it, where she's wearily toking away on what you suspect to be her ninety-ninth cigarette of the evening, is so very sad--she's back again on that boulevard of broken dreams.
G.
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Yeah, I remember that one from last year. I just happened to be having trouble around that time with a scene in my never-to-be-finished (because I'm lazy) fan fiction opus in which Julia's at Widow's Hill thinking about jumping, and that capture appeared, and MB very kindly put it into this thread. No more trouble, the scene got written within a day or two.
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It's a wonder that DC actually allowed that scene in the film because, after all, it's so character oriented, and most such scenes ended up on the cutting room floor in favor of the blood and gore scenes. DC could have easily cut from the shot of Julia up on the tower watching Barnabas and Maggie's walk to Julia in the bathroom at the Old House preparing Barn's injection with Stokes' warning that Maggie is the only woman Barn is interested in echoing through her mind. I suppose we should be grateful for small favors because the loss of that scene would have been a major loss if it had never been included...
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Today's shot just may be The Best. EVAR.
Grayson. The Actress. The Presence. The WOMAN.
Thanks, MB.
G.
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I missed the shot :( ::sigh::
But I totally agree...Grayson rocks! What a woman, and a legend.
Love,
Heather H.
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Heather, the shot Gothick is referring to is the one that's still atop the Current Talk '11 I board. The images for this slideshow change at 7pm ET/ 4pm PT. [ghost_smiley]
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I forgot to mention the other day that the capture Gothick and Lydia were talking about on May 30th is highlighted back in reply #162.
The most recently discussed Julia capture is highlighted back in reply #166. [ghost_smiley]
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Also, that's a fab shot of Paul Michael just filling the screen with character in his walk-on bit in hoDS tonight.
And here it is:
(http://www.dsboards.com/moviesquoteimages/0617hoDS_0.jpg)
hoDS: Scene #225 - Jeff: 'What time they give you this?'
We can be thankful for that capture because DC had the camera on Paul Michael while RD delivered his quoted line. But then, many of us are probably thankful any time that RD isn't on camera in any of his scenes. [ghost_wink]
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Every time I see a shot like this one, MB, I thank the gods somebody made DC hire Arthur Ornitz as the cinematographer on this movie. I think it is thanks to Ornitz that there are a few classic moments of style, atmosphere, and subtly evocative terror--not to mention some gorgeous use of color and shadow--in the movie.
G.
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It was such a treat seeing the shots from the piano screen and reading the fruity, bitchy dialogue. Thanks for choosing these! I wonder whether by this time next year, we'll have the DVD with the restored scene available to enjoy whenever we wish to do so?
I also found myself wondering whether, in her own mind, Diana Millay was playing her Laura scenes in the movie with the subtext that this Laura, like the other two she had played, was destined to become a Phoenix?
Hoping Diana, Lara Parker and David Selby were all able to loop their original dialogue from this scene! It seems destined to become a classic. Thanks again to Darren for so heroically, indefatigably taking on the task of restoration!
G.
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Wow! I love, love, love that shot of Thayer David telegraphing oodles of subtext as the insidious Reverend Strak. Just fantastic!
Thanks for keeping this series going, MB.
G.
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I've vowed that the Movies Quotes Slideshow will continue until both hoDS and NoDS are released on DVD/Blu-ray - so it's looking like it will be continuing for at least another year.
And as for Thayer David/Strak, whenever anyone would like to reflect on that particular capture, just check out reply #36 where it has been immortalized. [hall2_smiley]
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That's great to hear, MB, about the movie slideshows.
Perhaps once the original feature films come out, you can at some point contemplate doing slide shows for the Depp film and the 2004 pilot--presuming that those are likely to be released on disc at the same time.
I am loving today's action packed shot with Ange and a blonde Mrs J (Mrs Castle in the movie) confronting one another--I think of it as the "Back away, Bitch!" pose ... I leave it to your discretion as to who is uttering the line...
G.
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And it gets better--brooding, Byronic Charles; coldly gloating Laura; completely out-of-the-loop blonde Mrs. Johnson, all framed around Angelique and Sarah.
It's like a mini-summation of certain aspects of the series...
G.
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And anyone who might like to reflect on the captures involving Angelique, Sarah, Mrs. Castle, et al. need only to check out reply #39 where they've been immortalized. [hall2_smiley] They're some of my favorites as well.
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That thing that Elizabeth is so gleefully holding up in today's capture, and that Carolyn and Julia are admiring (Julia looks quite covetous)...every time I glance at it, I think it's a jewel-encrusted piece of intimate lingerie. I suppose that would be too good to be true.
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Naomi's jewel encrusted thong - can you imagine?! [snow_wow] But hey, maybe Depp's Barn will bring that to Pfeiffer's Liz on his arrival at Collinwood. [snow_laugh]
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Just love Grayson's big smile as Julia in today's scene.
I think it is the one time in the movie that Julia actually looks happy for a moment.
G.
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Re today's capture: I LOVE Thayer David.
That is all.
G.
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Another of my favorite Thayer David shots from NoDS today (and one of his juiciest lines, too).
Thanks so much for all of these, MB. Although there has been no announcement, I presume that the hoDS/NoDS series will be retired, now that the Blu Ray releases are about to hit the streets. I presume you'll be replacing this series with a Depp Shadows series next year, although that's just my educated guess. You know how wildly imaginative I can be.
cheers, Gothique
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Another of my favorite Thayer David shots from NoDS today (and one of his juiciest lines, too).
Yes, I absolutely love that line:
(http://www.dsboards.com/moviesquoteimages/1022NoDS_0.jpg)
NoDS: Scene #121 - Strak: 'He must learn the lesson
of the damned. He shall watch her die.'
Thanks so much for all of these, MB. Although there has been no announcement, I presume that the hoDS/NoDS series will be retired, now that the Blu Ray releases are about to hit the streets.
The slideshow won't be retired - it will simply move to a different page next year. Though no decision has been made as to where exactly.
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In today's shot of Jerry Lacy at the funeral sequence in hoDS, it looks as if he's wearing a microphone. I wonder if that's the case. I never thought of it before, but with all the water from the good gentlemen of the Tarrytown Fire Department involved, I would think that Lacy's dialogue in that scene would have had to be looped in postproduction.
Still loving this slide show... thanks MB.
G.
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Judging by photos taken of them rehearsing/shooting the funeral sequence, I think that's the bottom part of the handle of his umbrella. [snow_smiley]
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Thanks, MB. I presume that Lacy did have to loop his dialogue in the studio after the fact, then...
I don't think they even had cordless microphones in 1970.
G.
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I hope I am in the correct topic to comment on the current slide of hoDS's Dr. Julia Hoffman saying that the creature can be cured. I am wondering if this is the most original/exclusive plot DS has to offer to the world of 'horror' flicks or vampire stories? Has curing the vampire ever been done before or since? After seeing the slide, it struck me as an original & brilliant concept.
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You are definitely in the correct topic, dom. [snow_smiley]
However, I don't think it is original because I seem to recall someone pointing out that it had been done in a film prior to DS doing it - though I honestly don't remember which vampire film it was. And it's certainly been done many times since. One standout example would be the original Blade film, right down to the woman doctor attempting to cure him.
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In Dracula's Daughter (1936), a female vampire approaches a male psychotherapist in hopes that he can provide a cure for her "evil."
In House of Dracula (1944?), there is a very similar scenario to Julia's original analysis of Barnabas's blood and her strategy for curing him.
I think there's another one from the 1950s but I can't recall the details at the moment.
G.
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Thanx for chiming in!
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Thanks for those answers, Gothick. I had no idea!
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Dracula's Daughter is a beautifully excecuted, classic horror film. There are some touches of humor, particularly when the stalwart hero informs his valet he's off to "run down a vampire" and the gentleman's gentleman responds, "but sir, don't you usually do that with your checkbook?" Around the 1890s/1900s, a "vampire" was a common name for an "adventuress" or "gold-digger" or woman who entertained men (sometimes but not always involving sexual favors) but was really after their cash.
House of Dracula IMO isn't as good as the preceding film, House of Frankenstein, but the scenes with John Carradine are fun to see and effective. Despite the title, Dracula is only in the movie for the first half or so.
G.
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I've never seen Dracula's Daughter, but now I do want to!
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Seeing today's capture of Carolyn as vampire in hoDS made me remember that this was my favorite part of the movie back then when I saw it in the theater.
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This old thread used to involve NoDS. So I'll just write a little note to say that last night, I finally watched the DVD issue of NoDS. It is actually the first time I have sat through the entire film in around three decades, I think. I used to fast forward through a lot of it when I'd get out the videotape (please don't take away my fan card).
I really felt as if I were watching it for the first time because the picture was so crisp and the color, outstandingly, was far superior to my old tape which was derived from a 1990s laserdisc. I thought the DVD aspect ratio was superior as well to the laserdisc version. The movie was just stunningly beautiful to watch, even though the story about two thirds of the way through dissolved into an incomprehensible mess.
I found myself more baffled than ever by the state in which this was released to the public. The MGM suits bear full responsibility for their ridiculous demand that the Dan and Sam re-edit the movie over a weekend. If they'd been given more time to re-edit, it's possible that the result would have been more coherent. I think the movie starts to fall apart at the point when it gets to the titular "Night of Dark Shadows," when Claire and Alex have come back from NYC with the old portrait of Charles (I'd forgotten that was ever seen in the movie at all). There are some startlingly sloppy edits in the movie from that point on--looks as if the tech was re-cutting it with the end of a very blunt razor blade.
As the movie further unwound and the numerous narrative drop-outs accumulated, I became acutely aware that the average viewer must have had no idea at all what was going on. I don't have the energy to enumerate all the missing material that results in the whole point of the story simply being removed. Darren's done incredible work documenting all of it.
The most puzzling gaffe for me were a couple of really abrupt edits/shot switches in the sequence of the ghost Angelique's attack on Alex. I think those must have been the result of some technical difficulties in filming the sequence that Curtis ran out of time to resolve. But who knows? Maybe they removed something significant that happened in the sequence. And the result was those weirdly off-base edits. Hackwork.
Another odd note--I don't really have time or opportunity to check, but I'm sure a brief music cue was missing from the DVD print. I remember it occurring when Quentin and Tracy have arrived at Collinwood at the beginning, and the p.o.v. switches to somebody (presumably Angelique's ghost) looking down from an upper window. On that shot, there used to be a brief cue that was heard. The shot played in silence on my disc.
Thanks to the fact that I watched it from beginning to end for once, I saw many beautiful shots of Grayson I didn't recall from those long-ago sessions with it. That was maybe the best gift of all. I'm so sorry that the climactic moment of her performance in the movie is gone now.
But there's always the trailers...
cheers, G.
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Don't judge the released version of the film by the print that was used for the DVD/Blu-ray. Believe it or not, the version used was a rough edit which leaves the starts of ends of cut scenes as well as music cues from them. For someone like me, I love the fact that we get evidence of such music cues and, in a few occasions, actual bits of dialogue from the deleted scenes, but I can certainly understand that if someone is looking for a polished edit of the film, they'll find the print sadly lacking. Darren was and most probably still is quite upset that they used the print that they did for the DVD/Blu-ray. And because they've released that version, that brings the total of different versions of NoDS out and about to three, which is just insane, and each one of them has its own issues. (My favorite, though, is the version in which one of the issues is that it leaves Carlotta's dialogue unedited when we would have seen her return to the Gallery after having left to get a salad to serve to Quentin and Tracy. Over the close-up of Quentin that ends the Gallery scene we actually hear Corlotta say, "I brought some" before the scene gets cut off and the film switches to the scene of Quentin and Tracy going to bed. The version is still available on Amazon Video...)
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That's bizarre that they used that print! But, go figure...
It mostly looked great apart from those weird, rough edits ... I don't know just when I'll feel moved to watch the movie again. And yeah, I'm sure Darren was really torn up about this. I know I might have had to go to a parking lot and smash a lot of cheap china, if I'd been in his shoes.
G.