Dark Shadows: Reincarnation Mark B. Perry Reveals the

Sequel Series That May Still Come to Life




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Messages - Gothick

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1126
Current Talk '16 II / Re: You Know Who You Are...
« on: August 04, 2016, 04:23:45 PM »
That's a great snap of Liz in 1940s film noir mode.  I'd like to think this scene was meant as an homage to Joan Bennet's work in that genre especially in her Fritz Lang films, but it was most likely just a sweet little synchronicity as they were winding up a storyline that did not fit with where the show was heading.

Fab outfit for Liz here.

G.

1127
My personal take on all this has always been that most, if not ALL, of those notes in Grayson's script represented her own thoughts on how she was going to play this out.

Grayson was a great believer in something called sub-text.  In a theatrical context, this means information that an actor brings to a given scenario or action.  Ordinarily, this would be augmented or perhaps changed outright by the director's notes.  DC was still fairly green at this time, though, so I don't know how much he contributed to all of this.  I know he was into things such as tracking shots and whip-pans.  LOL.

I do remember the story of him yelling at Thayer David to hit the stake HARDER in a certain scene in hoDS.  Frankly, that seems about DC's speed during this period of his life as a director.

Of course he went on to win an Emmy... which was invariably prominently displayed in every video interview he did, in later life.  I always had the feeling he worked his butt off getting that thing.

Wonderful captures, MB!  And wonderful job of annotating all this for us.

G.

1128
An unusual hookup between Barnabas and Sheriff Patterson... to quote George Takei, 'OH MY"!

Since the Sheriff apparently had his office title as his first name, my mind is thinking of some amusing dialogue now for when the two are entangled together in the heat of passion.

Thanks for the link!

G.

1129
Current Talk '16 II / Re: Grayson's Characters
« on: July 25, 2016, 02:53:16 AM »
Grayson said in a magazine interview once that Julia attended Cornell and majored in haematology (I think this was Grayson's little joke).

Grayson said several times that Magda was her favorite character on the show.  Grayson had some Romani presence back in her bloodline.  I think I read somewhere that Sam created Magda because Grayson was so bored playing Julia, who she regarded as a "straightass."

In another interview, either Thayer or Grayson said that their accents for Magda and Sandor came from the fact that both of them had been in productions of the Molnar play Liliom.  Their surname, Rakosi, is Hungarian.  It was the surname of an important figure in the 1956 Hungarian Revolution, which resulted in a lot of people fleeing to the US (including the family doctor my Mom worked for in the 1960s and 1970s). 

I've wondered if a core element of Magda came from a play Grayson did in the early Sixties, THE BUSKERS--the photo published in the NY Times of her in the role really has a Magda look to it.

Yes, some of us are just a bit hung up on Grayson.  Because, you know, she was THE GREATEST ACTRESS TO EVER WALK THE EARTH.  (I'm quoting no less an authority than Danny Horn there--LOL).

G.

1130
Calendar Events / Announcements '16 II / Heiress of Condowood
« on: July 21, 2016, 03:03:10 AM »
I don't see any posting regarding the appearance of a publicity blurb for Lara Parker's new DS novel. It seems to have been posted on Amazon and other venues sometime around the 4th of July weekend. The blurb seems very poorly written--particularly the tortured, repetitive syntax of that final sentence.

http://www.collinsporthistoricalsociety.com/2016/07/victoria-winters-returns-in-dark.html

The blurb doesn't mention Barnabas, but he is featured in the cover art, which has as its source one of the old publicity stills from 1968 (if I recall aright, a photograph from the same session was used for the cover of the very first issue of the magazine AfterNoon TV back in 1968--such was the prominence of DS on the daytime scene in that era).

Thanks for my fellow fan Michael C. for pointing this out to me.

G.

1131
That's cool.  I am not familiar with WHISPERING SMITH.   A couple of months ago, I saw one of Diana's interviews for the DVDs several years ago where she spoke of doing a lot of television in the early to mid 1960s.

G.

1133
Grayson Hall, GODDESS.

No wonder Danny Horn once proclaimed Grayson Hall the Greatest Actress who Ever Walked the Earth!

G.

1134
I remember Grayson made very effective use of The Pout in a memorable scene in 1897.  Angelique is berating Julia, telling her that she's wasting her time with Barnabas because he is a COLD, UNRESPONSIVE man.

Julia offers her The Pout, The Freeze, and DEMANDS to know, with an icily arched eyebrow: "WHO made him that way?"

It's one of the few times I've ever seen Angelique look taken aback...

G.

1135
Another fab Carlotta capture today!

Anyone paying attention AT ALL should have realized that that tightly pursed pout means ALL HELL is gonna break loose!

G.

1136
One further comment that I personally find it very unlikely that an artist--professional or otherwise--would allow anyone else to haul around his own easel and materials, etc.  I would have expected Quentin to simply do this himself rather than asking Carlotta to do it, particularly since in all likelihood she would just pass the order along to Gerard.

For someone who was interested in antiques and the arts, Sam Hall sometimes seems to have been strangely uninformed (and at times, just plain dense) about the specifics of art conservation and related art logistics.  Remember the storyline where we were told that a painting was going to be "transferred to another canvas" so that what was painted under it could be seen?  It wasn't until I watched that story again as an adult that I realized just how absurd those lines sounded.

G.

1137
I do love the scene where Carlotta tells Tracy that it would perhaps be best for her to leave HER OWN HOME... "... IF you can!"  LOL.

Maybe it's time to finally order the DVD...

G.

1138
Grayson made notes in her script where she explains that when Carlotta touches the locket like that, it means something to do with Angelique's spirit--it might even be called an act of communion between Carlotta and the spirit.  The notes implied that this was the original base of Angelique's enhanced awareness of, and activity in the physical world.  This is what it means towards the end when John Karlen's character has a line implying that Carlotta was "keeping Angelique's spirit alive."  It's too bad that that line makes no sense at all in the film as chopped up for the final edit, unless you have really extraordinary powers of connecting seemingly random dots.

Great screen capture of this moment!

G.

1139
Those are fabulous notes and memories, Professor Stokes.

Thanks,

G.

1140
That's a beautiful shot of her in that, Robot Quentin.

G.

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