Author Topic: And Now The Return of Another New Slideshow (Sort of) [**Now featuring alternate versions of scenes - see replies #60,#82,#116,#138,#157,#180,#224,#240,#280,#372,#526**]  (Read 116265 times)

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Offline Patti Feinberg

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Popping in NoDS now.

Hopefully, I'll see stuff I've read.

Patti
What a Woman!

Offline Mysterious Benefactor

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Continuing along with Scene 233 after Angelique speaks to Quentin (with some of DC's additions added):



                                                         233A           
233    CONTD                                      CONTD  233
        THEIR P.O.V. - NOTHING
       They all look at him as he REACTS.  They do not hear
       or see it.

                             ALEX
                 What do you hear?


And that's when today's quote -

Page 108/Scene 233 - Quentin (ignoring him): 'I am not Charles Collins. You do not love me. Let go of me. Your spirit is free to leave this house, never to return here where you have had such unhappiness. You and Charles must go...'

comes up.

DC also added a notation between the words "house" and "never" that the camera would begin a slow zoom to Quentin's close-up.

Offline Gothick

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I wish I had a stronger visual memory of seeing the footage of this scene (in black and white, due to some kind of technical situation I didn't understand--if fully restored, it would have been seen in full color) and without any soundtrack, at a DS Festival many years ago.  The main thing I recall was the extraordinarily fluid camerawork and atmospheric use of lighting. 

My impression at the time was that it might well have been the best piece of film Dan Curtis ever produced.

Thanks to Darren for making it available briefly for us.

I'm thinking now of Sandor's words from the 1897 story on the original series:  "What might have been... can never be."

cheers, G.

Offline Patti Feinberg

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I'm confused about 'alternate ending'.

Was this something Dan Curtis was 'toying around' with?

Or, is it just fantasy?

(BTW, before I read this, I would not have noticed the 'bricks' noise.)

Patti
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Offline Mysterious Benefactor

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Patti, there isn't really an alternate ending. But there are earlier versions of scenes that appear in some of the actors' scripts, We've shared a lot of those in this topic. But the updated versions that appear in DC's script are the versions that appear in the film...

Offline Mysterious Benefactor

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Continuing along with Scene 233:

Finally, the face starts to fade.

And that's when today's quote -

Page 108/Scene 233 - Quentin: 'Join each other in a world where there is no death or hatred. Go with my love. Go forever -- go -- go -- go.'

comes up.

But things are far from over. In fact, they're really just about to begin when the next quote/capture comes up...

Offline Mysterious Benefactor

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Continuing Scene 233:

       Just as the mist is about to vanish completely, the
       moment is shattered by the SOUND of the Music Room
       shutters flying open and the SHRIEK OF CARLOTTA'S
       ANGUISHED VOICE.


And that's when today's quote -

Page 108/Scene 233 - Carlotta (O.S.): 'No! You must not send her away!'

comes up.

But if the clips we've seen from the seance are any indication, more than likely Carlotta isn't simply heard off screen because the clip of Carlotta screaming "No!" is in at least two of the NoDS trailers.

And Grayson has a note in her script that at this point Carlotta is wild and crazed with the fear of losing Angelique.

Offline Mysterious Benefactor

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Moving on the next scene in the seance sequence:

234    WHIP PAN to Carlotta, who stands in the Music     234
       Balcony high on the back wall of the gallery.


And that's when today's quote -

Page 108/Scene 234 - Carlotta: 'I will not let you!'

comes up.

But if the clips we've seen from the seance are any indication, more than likely in the film the camera whip pans to Carlotta before the script indicates.

And Grayson has a note in her script that at this point Carlotta is feeling rage.

Offline Darren Gross

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A few notes I can share... scenes 218-220 were indeed shot- they're included in a daily shooting report I have.  I have one photo of Quentin close-up with the candelabra, and you can tell from the background that they are at the bottom of the staircase, about to separate.

It was cut out of even Dan Curtis's director's cut, though, most likely just to tighten things up a bit.  The dialogue from this scene between Alex and Quentin was edited down and plays over the shot of Carlotta in the tower in the director's cut, and yes it exists.  It was replaced with the solo Selby "find Carlotta" voice over to help make sense of the chopped up ending in the short version.

One thing to keep in mind in many of the scenes, is that the dialogue in many of the scenes was all adjusted, tweaked, revised slightly on-set, which makes things play a little more naturally, but has been sheer hell from a dialogue re-looping standpoint because there's no document that exists which accounts for all the on-set changes.  Lots of trial and error and frustrations in the booth, I can tell you!  The basement/skeleton scene loss is a huge disappointment to me, and I believe that dialogue would have been significantly revised in filming, probably dropping the Laura laughing line and having some minimal lines of explanation to clarify that the skeleton is Charles, and he's lying atop Angelique's coffin, with her inside it.

The shot of the skeleton hanging from the tree was just on-set goofing around. I have the contact sheets from this shoot, and it's not supposed to be Angelique- it's Charles's skeleton and is dressed in his rotted shirt- that's why there's that shot of Selby standing next to it, as it's his character.  They were shooting publicity shots of Selby, and the crew just ties a rope to the skeleton and pulls it up off the ground to get the shots with Selby, then afterwards a few shots of it by itself in the tree.  I was thrilled to find that contact sheet, as it always appeared to be some shot of Angelique's body rotted to nothing and hanging there, and intriguing, but impossible scene to match to any of the scripts.

In the final filmed version of the Gerard fall to his death, Alex says, "Looks like the old Bangor local is gonna be running late tonight." Thankfully we have that audio as well.  His face is off-screen for the tail part, and if we didn't have the original recording, we would have looped it as "B&M" which would have been unfortunate.

Offline Darren Gross

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The staging of the Carlotta seance appearance is also handled slightly differently.  The final version opts to show the gallery balcony windows slowly open and she is visible listening to the last few lines of the seance.  When she begins to shout though, it cuts to the fast-zoom in to her face.  Interesting that they chose to go that way. 

Offline Darren Gross

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The rooftop shot of Strack and Gabriel is a strange one, and it is a very precarious part of the roof.  Again, just shot for publicity.  There are shots in the film that are taken from the rooftop, so at some point a scaffold and some support boards must have been laid across it for access & safety, so that's probably how and why they got up there.  As there are some angles from the roof looking down at the hanging, these two must have popped up to take a look between shots.

Offline Mysterious Benefactor

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A few notes I can share... scenes 218-220 were indeed shot- they're included in a daily shooting report I have.  I have one photo of Quentin close-up with the candelabra, and you can tell from the background that they are at the bottom of the staircase, about to separate.

Good to know. There are so many stills of Quentin with candles that sometimes it's hard to know which are simply publicity poses and which are for actual scenes. For example, back in '09 I used this for the seance -


- in the original slideshow for NoDS even though I was pretty sure it wasn't from the seance, but I cropped and enlarged it so it would look like it could be. (And the really funny thing is that at this point I have no idea where I've stored the original.)

Quote
One thing to keep in mind in many of the scenes, is that the dialogue in many of the scenes was all adjusted, tweaked, revised slightly on-set, which makes things play a little more naturally

We've certainly noticed that. There aren't many scenes where everything is delivered as scripted.  [ghost_nowink]

Quote
but has been sheer hell from a dialogue re-looping standpoint because there's no document that exists which accounts for all the on-set changes.  Lots of trial and error and frustrations in the booth, I can tell you!

I can just imagine!

Quote
The basement/skeleton scene loss is a huge disappointment to me, and I believe that dialogue would have been significantly revised in filming, probably dropping the Laura laughing line and having some minimal lines of explanation to clarify that the skeleton is Charles, and he's lying atop Angelique's coffin, with her inside it.

IMO, dropping the Laura laughing line would have been a good move.

Quote
I was thrilled to find that contact sheet, as it always appeared to be some shot of Angelique's body rotted to nothing and hanging there, and intriguing, but impossible scene to match to any of the scripts.

Exactly!

Offline Mysterious Benefactor

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The staging of the Carlotta seance appearance is also handled slightly differently.  The final version opts to show the gallery balcony windows slowly open and she is visible listening to the last few lines of the seance.  When she begins to shout though, it cuts to the fast-zoom in to her face.  Interesting that they chose to go that way.

Very. I saw the footage of the seance when you showed it at one of the Fests, but sadly, like Gothick, I wish I had a stronger visual memory of it. But also like Gothick, I remember thinking it was some of DC's best work and it was a beyond terrible shame that it was cut!

Offline Mysterious Benefactor

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The rooftop shot of Strack and Gabriel is a strange one, and it is a very precarious part of the roof.  Again, just shot for publicity.  There are shots in the film that are taken from the rooftop, so at some point a scaffold and some support boards must have been laid across it for access & safety, so that's probably how and why they got up there.  As there are some angles from the roof looking down at the hanging, these two must have popped up to take a look between shots.

Definitely not something I would have done because I hate heights - but your explanation makes a lot of sense.

And again, thanks for all the info.  [santa_smiley]

Offline Gothick

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Darren, those notes are fascinating.  Thanks so much for sharing all that.

My heart aches for you whenever I think about this movie.

Wishing you a happy holiday and a Happy New Year!

Best,  Steve