I wish they had kept the scene that's in Grayson's copy of the shooting script of [spoiler]Carlotta lying on her bed having an orgasm while Quentin and Angelique are making love in the Tower. I think Grayson had a note that Carlotta, being the link that kept Angelique's spirit alive in the present (not something that was ever explained or even touched upon in the existing print apart from one line of dialogue that, as it stands, makes no sense), experienced physically the love that Q & A shared because of her connection to A. I thought that was a very cool concept ... and you know how we Grayson fans are about seeing our lady gettin' her groove on!  I don't know whether Sam Hall did this deliberately, but I am always struck by the fact that Carlotta is a female form of the name Charles, A's original lover in 1810; and Drake refers to dragons, to cthonic underworld energies, to things potent yet unseen...   [/spoiler]

Nothing like it was included in the footage Darren showed at the one Festival presentation I was able to attend, so I'm presuming that either they never shot it, or the footage failed to survive.

G.

Whoa!  Is it just me or does Quentin have MAJOR boudoir eyes in today's photograph?

I expected the capture to read:  "Carlotta, you're one red-hot mama, and I've had enough of your coy ways in those batwinged gowns.  Let's find a room and get to WORK, Woman!"

Maybe somebody can re-edit Grayson's scene from END OF THE ROAD with Selby instead of Jack Horner?  *wink*

G.

Hey Borgosi,

I also donated a ponytail some years back to Locks of Love.  They're a wonderful group of people.

I was in NJ the weekend before last and the experience of attempting to navigate around on NJ Transit and PATH confirmed for me that I don't think I can manage the Festival this year.  I would love to have come to see my DS buddies.  It's too bad the people running the Festival decided they couldn't afford the Brooklyn hotel which was relatively convenient.

Have fun!  btw Seaview would be a long hike from there--getting there and back would be a very full day.  You might want to think about spending the night in Newport.

G.

What wonderful memories!  Thanks, Midnite, for those links.

G

The Hotel is actually located in Elizabeth (the one aspect that seems to fit with a Dark Shadows theme).  It's a 5.5 mile drive from Newark Penn Station.  The website says it is a $23 cab ride from the Airport to the hotel which seems to be comparable to how much a cab from the train station will cost.

Believe it or not, the hotel website describes the venue as "chic." 

FWIW, it seems to be smack dab in the middle of nowhere, off a highway that goes to the Newark Intl Airport.  Bring your granola and peanut butter sandwiches as the snooty waiters at the tiny hotel restaurant may run out of provisions when the place is jammed with tired, hungry conventioneers foraging for food in the great wilderness of the airport hinterland.

G.

Hooray for Hollywood.

I'm immensely enjoying the Movie Quotes slideshow.  Thanks, MB!

G.

I just became a huge fan of Guillermo del Toro even though I have seen none of his movies (and doubt whether they would prove my cup of tea)--thanks to his commentaries on the Night Gallery season 2 DVDs which I rented via a popular subscription service.  I was stunned at how literate, even erudite, del Toro is about not just classic horror cinema, but the classic fiction of the 20s and 30s including some of the now obscure authors such as Seabury Quinn and Donald Wandrei.  He is also a very astute observer of actors and bothered to research the careers of performers I love such as Barbara Rush who are now pretty much forgotten.  (His remarks about Yaphet Kotto in the commentary on "The Messiah on Mott Street" shows great insight into qualities of Kotto's that would go right past the casual viewer.)

I'm sure that del Toro watched reruns of DS as a child in Mexico, and I'd be very surprised if he had not seen the films as well.

Last night, inspired by MB's new series of shots from NoDS, I got out my tape of NoDS (from the old laserdisc) and watched several scenes.  I really can't get over the beauty of the camerawork in that film.   The scene with Quentin on horseback slowly "tuning into" the flashback of Angelique's funeral could have been shot by Claude Renoir.  In the funeral scene itself, I was started to catch a brief close-up of Clarice Blackburn I'd never noticed before.  Always a treat to revisit a favorite film...

G.