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Author Topic: And Now The Return of Another New Slideshow (Sort of), Part 2 [**Now featuring alternate versions of scenes - see replies #18,#21,#23,#49,#64,#69,#76,#88,#90,#100,#105,#107,#115**]  (Read 88063 times)

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Offline Mysterious Benefactor

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Re: And Now The Return of Another New Slideshow (Sort of), Part 2 [**Now featuring alternate versions of scenes - see replies #18,#21,#23,#49,#64,#69,#76,#88,#90,#100,#105,#107,#115**]
« Reply #450 on: July 04, 2017, 09:30:21 PM »
And when it comes to the start of the dialogue, the descriptions, the directions and the notations for the section of Scene 127 that I previously laid out, Liz doesn't get up so obviously she doesn't cross to the window. However, she does call the Roger, and one might presume that he face would be seen while she does so, but one would be wrong when someone like DC is involved. As we saw in the capture I shared yesterday, Liz is seen in the background as she cocks her neck as if she's getting reading to say something, but when she does say the dialogue that DC added to his script, which she does so just as DC added it, the camera shifts to -


- shooting her from behind, and of course that makes perfect sense, right, because just because the topic of discussion is Liz' daughter, why would one want to see Liz' face - and unlike how DC's script indicates that Roger would then be seen in close-up, he's seen from the exact same distance as the above capture when he delivers his first line covered, which he delivers exactly as scripted - and there's no need to switch back to shooting from behind Stokes in what we'll presume is really the "MASTER" and not the "MASER" shot because the camera shot remains unchanged when Stokes delivers his first line covered, which he actually delivers as "I think it would be a good idea if Maggie were to take the boy to his room" - at which point as Maggie makes her way to him -


- in what will be the start of different parts of David's dialogue becoming rearranged, he actually asks "Why don't you believe me?" as he still stands in place - and once she reaches him, Maggie puts her hand on David's waist and says an unscripted/ad libbed -


- after which David begins to move away from the table as -


- he insists "I saw her" - and as he begins to walk around the table with Maggie, Julia, who has been paying very close attention to David, nods in the affirmative to Stokes - and soon it's an emotional Roger who begins to move around the table -


- in David's direction, and as Roger nears him he reaches out to hold David's -


- shoulders (which is one of the very few moments when the aspect ratio of the VHS is preferable because -


- one can not only see Roger's entire hand on David but that David is reaching out to Roger as well (and with the VHS Todd's face doesn't get cut off as Roger moves past him)) as David says "She called to me, Father" - and then the camera switches to the shot in today's capture as -


- David actually says "I think she wanted to hurt me. ... Please believe me", upon which he gabs onto to Roger and holds tight while -


- begging "Please believe me, Father, please", which prompts Roger to become even more emotional and to say an unscripted but added to DC's script -


"It's all right, David"

 - and the camera changes angles again as Roger goes on to give a classic though unscripted but added to DC's script Collins response -


"We'll talk about it later."

- and for now we'll hold off on getting into what Maggie actually ad libs.

And rather than criticize DC, one does have to commend him for leaving all that emotional David/Roger material in the scene. Who knows what got into him? Or perhaps even someone else talked him into it. But DC is the one that allowed it to stay...
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Offline Mysterious Benefactor

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Re: And Now The Return of Another New Slideshow (Sort of), Part 2 [**Now featuring alternate versions of scenes - see replies #18,#21,#23,#49,#64,#69,#76,#88,#90,#100,#105,#107,#115**]
« Reply #451 on: July 05, 2017, 07:04:11 PM »
Wrapping up Scene 127 and beginning a somehow already started Scene 128:

    David and Maggie exit. Roger turns to Stokes.

                                ROGER |_________________     CUR
                      Alright, Elliot, what is it you
                      want to say?

                                STOKES
                             (To Roger)
                      I believe he saw Carolyn and I
                      suggest we try to find her, now.
               START
                HERE                               CONTINUED


          Keep   SIX   Going   all the
           way for  reverse   and position   III A


128    CONTD                                       CONTD 128

And that's when today's quote -

Page 56/Scene 128 - Roger (taking charge): 'Eliot, I think it is shocking that you're willing to take seriously the hallucinations of a very upset child!'

- comes up, followed in the script by the end of that section of Roger's dialogue:

                            ROGER



                                     We are not                 
                going anywhere!

And so, as far as the dialogue, the descriptions, the directions, and the notations go, let's first backtrack to yesterday where the script said Maggie would "ad lib": "That's alright, David, come with me now. We'll talk about it later." Though if the script actually tells you what to say, is that really an ad lib? But be that as it may, after Roger says practically that same thing to David, once again Maggie -


- actually puts her hand on David's waist, not his shoulders - and as she leads David out of the room she actually ad libs -


"We need to go to your room."

- though she says it so softly that unless you turn the volume way up, it's almost impossible to hear her - and then Roger does indeed turn back to Stokes, but as Todd stares at Stokes, Roger swallows hard -


- before he moves closer to the table and asks -


- Stokes his first lines in the section of the scene covered today, which he actually delivers as "Well, Elliot, what is it you want to say?" (and presumably in his mind he's spelled "Eliot" correctly) though obviously, unlike DC's notation, Roger is not in close-up - and after Stokes is seen in close-up (though DC had a notation that he would be seen in profile but erased most of it) as he -


- delivers "I believe he saw Carolyn", the camera switches to an unindicated close-up of Liz as -


- Stokes finishes off camera with "and I suggest we try to find her now" - and at that point DC's script has an odd notation that says "START HERE", but he doesn't elaborate, so it hard to know what he means - I don't think he's referring to the other notation at the bottom of the page that indicates that six cameras are shooting the scene simultaneously because that seems to have been happening throughout the entire scene - but who knows because apparently at this point only DC did? - and then when we move to the next page in the script, very oddly we're suddenly in a continuation of Scene 128 without ever having been shown where Scene 128 begins - but apparently the revision of Scene 127, which ends on page 55, replaced the beginning of Scene 128 and for all intents and purposes Scene 128 scene simply begins with page 56 and Roger's quote for today, which he actually delivers as "Eliot, I think it is shocking that you're willing to believe the hallucinations of a very upset child" - and Roger finishes with the end of that section of his dialogue with an extremely angry -


- "We are not going anywhere!", exactly as scripted.
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Offline Mysterious Benefactor

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Re: And Now The Return of Another New Slideshow (Sort of), Part 2 [**Now featuring alternate versions of scenes - see replies #18,#21,#23,#49,#64,#69,#76,#88,#90,#100,#105,#107,#115**]
« Reply #452 on: July 06, 2017, 05:58:04 PM »
The interesting thing about today's quote -

Page 56/Scene 128 - Stokes: 'I warn you this must be taken seriously.'

- is that DC's script indicates that it would have a different camera set up from Roger's camera shot -


- from yesterday. But quite obviously, as can be seen in today's capture -


- it doesn't. But Stokes does deliver it exactly as scripted...
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Offline Mysterious Benefactor

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Re: And Now The Return of Another New Slideshow (Sort of), Part 2 [**Now featuring alternate versions of scenes - see replies #18,#21,#23,#49,#64,#69,#76,#88,#90,#100,#105,#107,#115**]
« Reply #453 on: July 07, 2017, 08:10:03 PM »
Continuing Scene 128, beginning with today's first quote -

Page 56/Scene 128 - Todd: 'Professor, Carolyn is dead.'

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

Page 56/Scene 128 - Stokes: 'She is dead -- and yet she is alive.'

- coming up.

And as the camera pans with Roger as he makes his way back to his chair, so Todd is centered in the shot, as can be seen in today's capture -


- and Todd delivers today's first quote exactly as scripted. However, today's second quote was completely dropped from the scene - and considering how things play in the film, it doesn't seem as if it was ever shot. And it won't be the only lines of dialogue that were completely dropped from Scene 128 and likely never shot because there are a few more examples coming up, another as soon as tomorrow's section of the script...
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Offline Mysterious Benefactor

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Re: And Now The Return of Another New Slideshow (Sort of), Part 2 [**Now featuring alternate versions of scenes - see replies #18,#21,#23,#49,#64,#69,#76,#88,#90,#100,#105,#107,#115**]
« Reply #454 on: July 08, 2017, 03:56:44 PM »
Moving on with more of Scene 128:

       Liz now turns from the window and crosses to Stokes.
       There is an indication of rising anger in her tone as
       she speaks.

                             LIZ
                 Eliot, if I didn't know you to be
                 a man of character and integrity
                 I'd ask you to leave this house now!

And that's when today's first quote -

Page 56/Scene 128 - Stokes: 'There is a way of proving whether or not the boy was right.'

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

Page 56/Scene 128 - Todd: 'How?'

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

Page 56/Scene 128 - Stokes (pauses): 'By opening Carolyn's grave.'

- coming up.

And as far as the dialogue, the descriptions, the directions, and the notations go, as we can see in today's first capture -


- Liz has never gone to the window because she's still sitting at the table, and she never delivers the crossed out dialogue or any variation of it because it was the second example of dialogue being completely dropped from the scene (2 to go) - and DC added a notation after Stokes first quote from this section that says that Liz would cross to chair, presumably hers. which doesn't happen because she's still in it - and as we can see from these two enlargements of sections of today's second capture, as Todd asks Stokes how they can prove what David said -



- Julia looks over to Stokes - and before Stokes answers Todd, DC has a notation that he turns to Todd, which we can see in today's third capture -


- Stokes does, though another notation indicates that when Stokes turns the camera would rack focus on Stokes, but that doesn't happen, or at least we don't see it happen because when the camera shot changes, focus is already on Stokes. Also, what Stokes actually says is "By opening Carolyn's coffin."
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Offline Mysterious Benefactor

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Re: And Now The Return of Another New Slideshow (Sort of), Part 2 [**Now featuring alternate versions of scenes - see replies #18,#21,#23,#49,#64,#69,#76,#88,#90,#100,#105,#107,#115**]
« Reply #455 on: July 09, 2017, 08:36:07 PM »
When it comes to today's quote from Scene 128 -

Page 56/Scene 128 - Roger: 'Oh, my God, Eliot!!'

- an interesting aside is that DC indicates in his script that the shot of Roger is supposed to come from the master shot (everyone sitting around the table and shot from behind Liz, yet as we can see in today's capture -


- it isn't. Also, what Roger actually says is "Oh, for God's sake."
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Offline Mysterious Benefactor

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Re: And Now The Return of Another New Slideshow (Sort of), Part 2 [**Now featuring alternate versions of scenes - see replies #18,#21,#23,#49,#64,#69,#76,#88,#90,#100,#105,#107,#115**]
« Reply #456 on: July 09, 2017, 10:04:55 PM »
I keep forgetting to mention that if anyone has been wondering why things look so dark outside the dining room's windows in the various shots of them -


- it's because the way nighttime was simulated for these scenes, which were all shot during the daytime, was to hang tarps over the windows to block the light (and DC also used a similar technique on the '91 DS). In fact, one of the publicity shots of Lyndhurst that was given out to magazines to publicize the film actually shows a tarp covering most of the library window. Oddly, one magazine that shared the photo did so in its negative version -


- but that's easily remedied these days by altering it back with almost any image manipulation software -


- presumably on the day the photo was taken, they were shooting the scene of Barnabas, Maggie and Carolyn in the library, or the scene of Liz, Carolyn and Todd. Perhaps even both - though the shooting schedule indicates not...

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Offline Gothick

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Re: And Now The Return of Another New Slideshow (Sort of), Part 2 [**Now featuring alternate versions of scenes - see replies #18,#21,#23,#49,#64,#69,#76,#88,#90,#100,#105,#107,#115**]
« Reply #457 on: July 10, 2017, 12:52:01 AM »
That's a very cool shot of Lyndhurst with that tarp over the window, MB.  You really do find the coolest stuff!

Thanks again for all your work on this epic!

G.
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Offline Uncle Roger

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Re: And Now The Return of Another New Slideshow (Sort of), Part 2 [**Now featuring alternate versions of scenes - see replies #18,#21,#23,#49,#64,#69,#76,#88,#90,#100,#105,#107,#115**]
« Reply #458 on: July 10, 2017, 01:33:43 AM »
I really like the reversed image! It's quite striking!
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Offline Mysterious Benefactor

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Re: And Now The Return of Another New Slideshow (Sort of), Part 2 [**Now featuring alternate versions of scenes - see replies #18,#21,#23,#49,#64,#69,#76,#88,#90,#100,#105,#107,#115**]
« Reply #459 on: July 10, 2017, 08:04:01 PM »
And when it comes to today's quote from Scene 128 -

Page 56/Scene 128 - Liz: 'I'm sorry, but we're not going to discuss this any further tonight or at any future time!'

- Liz actually delivers it as "We are not going to discuss this further tonight or at any time in the future", with the part about her being sorry dropped, which makes it more effective because from her POV at this point she has nothing to be sorry about. But an interesting aside is that, unlike yesterday's example where DC indicates in his script that the shot of Roger is supposed to come from the master shot and it didn't, as we can see in today's capture -


- it actually is the master shot. And in some ways that's disappointing because I think it might have been more effective to see Liz in close-up as she lashes out at Stokes. After all, it's not like the master shot is preferable because it shows Stokes reaction because he's stoic throughout all of Liz' words. But apparently DC felt Roger should be of closer focus here than Liz, and am I the only one who finds that quite odd considering that the subject being discussed involves opening Carolyn's coffin and she's Liz' daughter? But anyway, I enlarged Liz' section so that we could see her clearer:

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Offline KMR

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Re: And Now The Return of Another New Slideshow (Sort of), Part 2 [**Now featuring alternate versions of scenes - see replies #18,#21,#23,#49,#64,#69,#76,#88,#90,#100,#105,#107,#115**]
« Reply #460 on: July 10, 2017, 11:34:21 PM »
I absolutely love the way the actors played this sequence. Especially the way Louis Edmonds gave Roger's response to Stokes' ghoulish suggestion.
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Offline Mysterious Benefactor

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Re: And Now The Return of Another New Slideshow (Sort of), Part 2 [**Now featuring alternate versions of scenes - see replies #18,#21,#23,#49,#64,#69,#76,#88,#90,#100,#105,#107,#115**]
« Reply #461 on: July 10, 2017, 11:46:04 PM »
Yes, it is one of the better scenes in the film - especially the stuff between David and Roger.

If only so much of Liz bits hadn't been dropped. But then, that's the case with so many of her scenes. Not only does she get bits of dialogue dropped which aren't replaced with anything else, she gets entire scenes dropped. (Another of which will be coming up soon...)
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Offline Mysterious Benefactor

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Re: And Now The Return of Another New Slideshow (Sort of), Part 2 [**Now featuring alternate versions of scenes - see replies #18,#21,#23,#49,#64,#69,#76,#88,#90,#100,#105,#107,#115**]
« Reply #462 on: July 11, 2017, 10:36:04 PM »
Continuing with more of Scene 128:

Julia now crosses to Elizabeth.                 

And that's when today's quote -

Page 56/Scene 128 - Julia: 'Elizabeth, I think you should listen to what Eliot has to say.'

- comes up, followed in the script by:

                             JULIA


                             (MORE)


128    CONTD (2)                                (2) CONTD 128

                             JULIA (Contd)
                      (she turns to Stokes)
                 You must tell them.

And so, as far as the dialogue, the descriptions, the directions, and a lack of notations go, Julia doesn't get up to cross to Liz because she stays sitting next to Stokes, however before the camera angle changes, we do see Julia raise her head as she says -



- Elizabeth's name as Elizabeth turns -


- to leave the room, which isn't indicated anywhere on the page - and then the camera changes to an unidicated 2 shot of Julia and Stokes as Julia -


- says "please" - after which the camera switches to an unidicated close-up of Liz -


- as she turns back to Julia as Julia says "you must listen" - and then the camera switches back to another 2 shot of Julia and Stokes as she finishes -


- with "to what Eliot has to say" (and can I just say I love the expression of Stokes' face, which is why I chose that capture for today's quote) - and since Julia has never gotten up and crossed to Liz, she doesn't turn to Stokes, nor does she say to Stokes "You must tell them" because that is completely dropped in the film.
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Offline Gothick

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Re: And Now The Return of Another New Slideshow (Sort of), Part 2 [**Now featuring alternate versions of scenes - see replies #18,#21,#23,#49,#64,#69,#76,#88,#90,#100,#105,#107,#115**]
« Reply #463 on: July 12, 2017, 03:32:18 AM »
Julia's backwards head-tilt as she begins to expostulate, and Liz's particularly icy deployment of "the freeze," are two of the few truly DS moments to be enjoyed in this film.

And if it weren't for your artistry, MB, I'm not sure I would ever have been aware of them.

G.
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Offline Mysterious Benefactor

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Re: And Now The Return of Another New Slideshow (Sort of), Part 2 [**Now featuring alternate versions of scenes - see replies #18,#21,#23,#49,#64,#69,#76,#88,#90,#100,#105,#107,#115**]
« Reply #464 on: July 12, 2017, 08:08:09 PM »
Quote from: Gothick on July 12, 2017, 03:32:18 AM
Julia's backwards head-tilt as she begins to expostulate, and Liz's particularly icy deployment of "the freeze," are two of the few truly DS moments to be enjoyed in this film.

I agree.  [nodassent]  They were often used to great effect on the daytime show.

Quote
And if it weren't for your artistry, MB, I'm not sure I would ever have been aware of them.

Happy to be of help.  [b003]
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