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 117553 times)

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Offline Gothick

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Today's photo makes me inclined to think that Quentin is hoping Carlotta will "help" him with more than just "finding a good room."  LOL!

Selby and Grayson always had such great chem together.  I was going through some old files last week and found some notes about how much he adored her IRL.

G.

Offline Mysterious Benefactor

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Today's photo makes me inclined to think that Quentin is hoping Carlotta will "help" him with more than just "finding a good room."  LOL!

Yes, today's capture -


is very different from the one I used back in '09 -


- for the original Movies Quote Slideshow.  [easter_cheesy]

Offline Mysterious Benefactor

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Setting up and wrapping the current scene as it appears in DC's script - but just beginning the current sequence, which doesn't play in the script the way it is in the film:

             OFFICE
60     INT - FOYER - DAY                                 60

       As Quentin ENTERS he sees Carlotta coming from the
       direction of the kitchen.


And that's when yesterday's quote -

Page 24/Scene 60 - Quentin: 'Oh, Carlotta, I'm going to start work today. Could you suggest a good room?'

- comes up, followed by today's quote -

Page 24/Scene 60 - Carlotta: 'Oh, yes, sir. I know just the place.'

- coming up, followed in the script by:

      They start down the hall.

End of scene.

And as far as the differences in the dialogue go, the "Oh" in Quentin's "Oh, Carlotta" is dropped in favor of him simply saying "Carlotta" - and the "Oh, yes, sir" from Carlotta is dropped in favor of her smiling and simply saying "Yes."

And when it comes to the differences in the descriptions and directions, as we can see above, DC crossed out FOYER as the setting for Scene 60 and decided it would take place in the office (Grayson's script still has it set in the foyer) - however, even though the setting was changed, DC's script, like Grayson's unchanged script, has the original directions, which are not at all how things play in the film because, as can be seen in the following capture -


- the scene begins with Carlotta doing work at the desk in the office, whereupon she in interrupted by a knock, and when she turns around to see who it is, as can be seen in yesterday's capture posted in the above post, it's Quentin. But from there things play out pretty much as scripted because the dialogue is similar, and after Carlotta tells Quentin she has a place in mind, she gets up, joins Quentin, and they head off down the hall.

And as for the notations in Grayson's script, some (like how she planned to have Carlotta carrying a fresh vase full of flowers for Angelique) no longer apply because of how the setting for the scene was changed, but things like how Quentin would soon be entering Carlotta's world and how he would be making one more step toward recognition do still apply.

And when it comes to the open folder on the desk -


- it almost looks like it could be Grayson's script. And it would be funny if they used it as a prop in Carlotta's work. But who knows?

And when it comes to the next scene in the sequence, the setting will again be changed in DC's script and things will be dropped. But more on that as that scene unfolds...

Offline Mysterious Benefactor

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And setting up and wrapping the current scene as it appears in DC's script:

              LOWER
61     INT - STAIRWAY TO TOWER ROOM - DAY                61
       Through the door
       Carlotta leads Quentin up the stairs.  He is
       carrying his equipment.  Pan enter the room and
       start toward the other stairs
                             CARLOTTA
                 I'm sure you'll find it perfect.




61     CONTD                                    CONTD    61

       They are at the door.  She takes out her keys.

                             QUENTIN
                 Wait ...

       Carlotta looks at him.


And that's when today's first quote -

Page 25/Scene 61 - Quentin: 'I have the strangest feeling I've been here before.'

- comes up, followed by today's second quote -

Page 25/Scene 61 - Carlotta: 'How could you have been, Mr. Collins?'

- coming up, followed by today's third quote -

Page 25/Scene 61 - Quentin: 'I couldn't have.'

- coming up, followed in the script by:

      She looks at him, then opens the door.

End of scene.

And as far as the differences in the dialogue go, Carlotta's "I'm sure you'll find it perfect" is dropped from the scene and, in fact, Grayson's script has a line drawn through that section - and Quentin actually says "Wait a minute ..." instead of simply Wait ..." - and then he actually follows that by saying "I've got the strangest feeling I've been here before" - to which Carlotta actually replies with "How could you have been?", dropping the "Mr. Collins".

And when it comes to the differences in the descriptions and directions, as we can see above, DC crossed out STAIRWAY TO as the setting for Scene 61 and decided it would take place in the LOWER TOWER ROOM (Grayson's script still has it set in the stairway) - and along with the setting change, as can also be seen above, DC added some more directions to the opening of the scene (though Carlotta doesn't lead Quentin through any door, nor is anything shot through a doorway, so when it comes to that, who knows?), but like Grayson's unchanged script, it still has the original directions, which are not quite how things play in the film because, as can be seen in today's first capture -


- Carlotta starts up the stairs but Quentin does not because he stops short of them when he has the feeling he's been there before - and as can be seen in today's second capture -


- (I love how) Carlotta fondles the key to the tower room as with but a small smile she asks how Quentin could have been there - and as can be seen in today's third capture -


- Quentin replies with a big grin that he couldn't have - and we don't see Carlotta open the door to the tower room.

And it probably won't come as a surprise that when it comes to the next scene in the sequence, once again Grayson's script has some notations that we'll get into at the appropriate time...

And two last points: backing up to the beginning of the scene as scripted, Carlotta's dropped line -


NoDS: Scene #61 - Carlotta: 'I'm sure you'll find it perfect.

- from this scene was the August 6th's installment in the original Movies Slideshow - and I can't go without saying that I absolutely love the look of delight on Carlotta's face -


- as she starts to ascend the stairs to the tower room - though, of course, first time viewers of the film have absolutely no idea why that is - but back in '71 I do honestly remember asking myself why. Little did I know what was about to come up (especially in the R rated 97 minute version of the film, which I was lucky enough to see several times) that would throw some hints, yet bring up even more questions. However, that tower room scene with Charles, Angelique, etc. doesn't come until much later in the script...

Offline Gothick

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God, Grayson was fab.  And Carlotta was one of her best performances.  I'm sure anyone following along at home will be absolutely FLOORED to learn that for this viewer, Carlotta WAS the star of the picture.  Though Selby made for some delicious eye candy.

And what a hoot about Grayson's script showing up as a prop!  That happened on the series a few times.

G.

Offline Mysterious Benefactor

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And setting up Scene 62:

62     INT - TOWER ROOM - DAY

       as they ENTER RUCK IN ON Quentin.  As he looks
       around, Carlotta watches him carefully.

                             CARLOTTA
                 Well, does it still seem familiar?

       QUENTIN - CLOSE-UP

       His feeling is still the same, but now he doesn't
       want to admit it.

                             QUENTIN
                      (hesitant)
                 No ...

       She continues to watch him carefully.  He looks
       very concerned.


And that's when today's quote -

Page 25/Scene 62 - Carlotta: 'I wouldn't worry about it, Mr. Collins. There is always a logical explanation for feelings like this. Will the room do?'

- comes up.

And as far as what's different with the dialogue, Carlotta actually asks "Does it still seem so familiar?" - and after Quentin apparently lies and says that it doesn't, Carlotta actually says "I wouldn't worry about it if I were you, Mr. Collins. There's usually some logical explanation for these feelings." (And when it comes to that second bit of dialogue from Carlotta, Grayson's script actually has a notation for the word "these" to be inserted between the words "for" and "feelings", and she also crossed out the words "like this" - but as we can see she also made further changes when it came time to shoot the scene.)

And when it comes to the differences in the descriptions and directions, the camera doesn't actually move in on Quentin when he enters the tower room, though, as can be seen in the following portion of a capture -


- Carlotta certainly watches him intently (and I love how she does so) - and there is no close-up of Quentin as he's taking in his surroundings, though he does move more prominently to the foreground of the frame - but while Carlotta does continue to watch him carefully and at first he does appear concerned, he actually smiles as he moves closer to some things in the room to check them out.

Offline Mysterious Benefactor

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God, Grayson was fab.  And Carlotta was one of her best performances.

You won't get an argument from me!  [ghost_nowink]  And I honestly think everyone in the film is quite good. It's just too bad that some (particularly like James Storm) had quite a bit of their stuff end up on the cutting room floor...

Offline KMR

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I agree, MB.  I think this was an exceptionally well-acted film.

Offline Mysterious Benefactor

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Wrapping up the current scene and dealing with the next. Let's pick things up in Scene 62 with yesterday's quote -

Page 25/Scene 62 - Quentin: 'Yes ... yes ... it's fine ... has it ever been used as a studio before?'

- coming up, followed in the script by:



62     CONTD                                    CONTD    62

And that's where today's quote -

Page 26/Scene 62 - Carlotta: 'Not in my time. If there's anything you want, I'll be downstairs.'

- comes up, followed in the script by:

       He puts his paints down, starts to set up his easel.

63     INT - TOWER STAIRS                                63

       as Carlotta descends TOWARD CAMERA, she is happy.


End of scene/sequence.

And as far as the differences in the dialogue go, first Quentin actually says "Oh, yes ... yes ... it's fine ...", and then, rather than asking, Quentin actually states "It's been used as a studio before, hasn't it", and no doubt that's because, given the frames and sculptures and all the other art paraphernalia all around the room, it seems pretty obvious the room has been used as a studio before - and Carlotta actually responds with "Yes, I believe it has. ... Not in my time", with the whole "If there's anything you want, I'll be downstairs" dropped.

And when it comes to the differences in the descriptions and directions, as can be seen when comparing the 10th's and the 11th's captures -


- Quentin turns to face Carlotta when he tells her the room is fine - and, as he states that the room has been used as a studio before, Quentin moves toward the middle of the room and out of frame, as can be seen in today's capture -


- which only features Carlotta - and we don't see Quentin put his paints down or start to set up his easel (he actually put his stuff down near the doorway when he first entered the room) - and Scene 63 doesn't appear in the film as it currently stands or, sadly enough, even in the recovered 129 minute version.  [easter_sad]

And as for the notations in Grayson's script, with regard to Scene 62, even though in the film Carlotta actually says "Yes, I believe it has", there's a notation in Grayson script adding "Yes, I think so" in answer to the room having been used as a studio, but obviously it was changed when the time came to shoot the scene, and, for me anyway, "Yes, I believe it has" is far more preferable - and in reference to adding the line, there's a notation that Carlotta is trying to tell Quentin something - and there's also a notation that Carlotta believes Quentin has gotten a glimpse of the past - and when it comes to Scene 63, there's a notation that once again Carlotta has the vase of flowers (recall Grayson wanted Carlotta to be carrying the vase in the original version of Scene 60) - and with regard to Carlotta's happiness, there's a notation that Carlotta is feeling that she knew Quentin would come around and all is going according to plan.

And before we leave this section of the film, observant people might notice in a few of the captures that there might be something in the tower studio that plays a part in the daytime show's 1995 and Summer of 1970 storylines. I'm not sure if it's exactly the same prop (and I'm too lazy to check). But it looks an awful lot like it, and soon the forum's Watching Project will be getting to 1995, so soon enough we'll see if it's the same...

And when it comes to the next scene in the film as it currently stands, things jump all the way up to a slightly reworked version of Scene 84 - though that doesn't mean that all the scenes between Scene 62 and Scene 84 aren't in the currently available version of the film or the 129 minute version. But more on that as those scenes come up in the script...

Offline Mysterious Benefactor

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Setting up the current scene:

64     INT - MASTER BEDROOM - NIGHT                      64

       Tracy and Quentin are getting ready for bed.


And that's when today's quote -

Page 26/Scene 64 - Quentin: 'I can't tell you how happy I am with that tower room. It's absolutely perfect.'

- comes up.

And as far as any differences in the dialogue, in the descriptions, or in the directions go, there's no way of knowing because Scene 64 doesn't appear in the film as it stands...

Offline Gothick

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Those are fab captures!  You're really making me want to see the movie again.

I was looking at the candles and reflecting that if this scene had been shot for the TV show, they would have come into a room like that, supposedly unused for many years, and found those candles lit and merrily burning.

It's implied of course that Gerard has been meeting Angelique's spirit and may have been doing so in the Tower room.  You have to pay really close attention to figure that out in the film as we have it now.

G.

Offline Mysterious Benefactor

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Wrapping up Scene 64 and picking up after Quentin's comments about how perfect the tower room is for his studio:

       As they get into bed.

And that's when today's quote -

Page 26/Scene 64 - Tracy: 'I know it. We're going to have a long happy life here.'

- comes up, followed in the script by:

       They embrace.

And as far as any differences in the dialogue, in the descriptions, or in the directions go, there's no way of knowing because Scene 64 doesn't appear in the film as it stands. And given that in DC's script he has what could actually be an X drawn through the scene (it's drawn strangely), it could even be that the scene was never shot. And if that is the case, I can sort of see why because back in Scene 62 Quentin has already made it clear that he loves the tower room, and back in Scene 40 Tracy has already said that she thinks they'll be happy at Collinwood, so Scene 64 could appear to be redundant. However, there are fans who've often remarked that they would have liked to have seen more happy moments between Quentin and Tracy before everything begins to fall apart. In fact, the DS Companion book references an upcoming scene in that regard (and at least that scene is in the 129 minute version of the film) - but more on that once we come to it...

All that being said, though - and potentially contrary to my notation at the bottom of the graphic for yesterday and today - I do have a publicity still that *might* be from Scene 64. To me, it's often looked more like Quentin is attacking Tracy (and I could never quite figure out where it could fit into the film because in the script there's no scene in their bedroom where he attacks her when they're dressed for bed) - but I do suppose that it could also be interpreted as a somewhat odd pose of the two of them in mid-embrace. Judge for yourself:


Offline Uncle Roger

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That still could  definitely be interpreted either way. The expression on Selby's face is somewhat ambiguous and we really can't get an accurate read on Kate.
Fade Away and Radiate

Offline Mysterious Benefactor

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And setting up the next two scenes:

                                             DISSOLVE TO:

65     INT - BEDROOM - NIGHT                             65

       It is later.  They are sound asleep.  Through the
       window the light in the tower starts to glow.
       TRUCK IN ON Quentin.  He finally opens his eyes,
       quietly rises, and EXITS the room. Cut before he exits

66     INT - BEDROOM - MORNING                           66

       They are both in bed.  Quentin is sound asleep.
       She is wide awake.  The alarm clock says 10:30.
       Finally, she can't stand it anymore and quietly
       starts to get out of bed.

                             QUENTIN (O.S.)
                 Hey!  Where you going?

                             TRACY
                 I couldn't stay in bed any longer.

       He stretches and yawns.

                Why are yo so tired?.




                                                     (Revised 3/31/71)

66     CONTD                                         CONTD         66


And that's when today's first quote -

Page 27/Scene 66 - Quentin: 'I didn't sleep too well.'

- comes up, followed by today's second quote -

Page 27/Scene 66 - Tracy: 'I've never slept like this before. Now get up.'

- coming up, followed by the script explaining:

       She hugs him and starts getting dressed.  TRUCK IN
       ON his face.  He tries to remember what happened last
       night.


And as far as what's different with the dialogue, the descriptions, and the directions beyond what has already been indicated above, DC's script also has a notation crossing out Tracy's "Why are you so tired?" and replacing it with "I thought you'd never wake", however, because Scene 66 doesn't appear in any version of the film, we have no way of knowing how things may have actually played. On the other hand, while Scene 65 doesn't appear in the film as it stands, it does appear in the 129 minute version...

And as a final note, the final descriptions and directions for Scene 66 are as they appear in DC's script - Grayson's script has an additional line because, as I alluded to before, Scene 67 is a completely different scene in Grayson's script than it is in DC's script and in the film, as is Scene 68 - but we'll get into all that after we've dealt with Scene 68 as it appears in DC's script...

Offline Mysterious Benefactor

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Two scenes that come up in DC's script before the scene that features tomorrow's quote:

                                                    CUT TO:

66A    INT. FIRST FLOOR CORRIDOR - DAY                             66A

       Quentin, carrying a picnic hamper, moves down the
       corridor.  When he reaches the foyer, he hears the
       SOUND OF QUENTIN'S THEME, played on a piano, seemingly
       from the drawing room.  Puzzled, he opens the door.
       The music stops.

67     INT. DRAWING ROOM - DAY                                     67

       Quentin enters the room, staring at the empty piano.
       He walks towards it, mystified, but positive he heard
       it's sound.  Then he hears the theme again - this time
       from the other side of the room.  He turns.


And as far as what's different with the descriptions and directions, we have no way of knowing at this point because these two scenes don't appear in the film as it stands - though they do appear in the 129 minute version...

(And, yes, "it's" is spelled incorrectly in the script.)