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my boy dw in jackson TN, at west bemis
Tags : dw bass |
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Affichage : 23017
Durée : 334 s |
| DW GRIFFITH JUDITH OF BETHULIA 1913 |
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Judith of Bethulia 1913
Cast: Blanche Sweet -Judith, Henry B.
Walthall -Holofernes's Eunuch Attendant,
Robert Harron -Nathan, Mae Marsh -Naomi,
Lillian Gish -A Young Mother, Lionel
Barrymore, Antonio Moreno, Kate Bruce
-Judith's maid, Gertrude Bambrick, Alfred
Paget, Gertrude Robinson, Edward Dillon,
Harry Carey -A Traitor, Dorothy Gish -The
crippled beggar, Charles Hill Mailes, G.
Jiguel Lanoe -Holofernes's Eunuch Attendant,
William Christy Cabanne, Thomas Jefferson.
Frank E. Woods -Screenwriter Billy Bitzer
-Cinematographer, James Smith -Editor William
Christy Cabanne - First Assistant Director
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(400 DVD TITLES )
DW GRIFFITH at BIOGRAPH COMPANY by IRA
H.GALLEN Conservative Biograph Studios
refused to allow D. W.Griffith to make any
film longer than two reels. Ignoring this
edict, Griffithallowed his Biblical epic
Judith of Bethulia to run four reels, which
led to his exit from the studio. Judith of
Bethulia tells the story, set in theancient
world, of the young widow Judith (Blanche
Sweet) offering herself toAssyrian leader
Holofernes (Henry B. Walthall) in order to
kill the man andavenge the subjugation and
slaughter of her countrymen.
With that material towork with, and shooting
of a 12-square-mile set that allowed him to
present the battle scenes, Judith of Bethulia
was as big a picture as Griffith was
associated with. Griffith did feel compelled
to devise a more traditional movie story,
involving the rescue of Mae Marsh by Robert
Harron, and one can spot such Griffith
stalwarts as Lillian Gish, Dorothy Gish, and
Harry Carey in small parts.
Notes: Griffith's power of concentration had
become so great that he could watch a
rehearsal, read notes given to him and
converse with his staff at the same time. At
times, he could look at you without really
seeing you. Construction began in Los
Angeles' CHATSWORTH PARK on the sets of
JUDITH OF BETHULIA. Griffith designs and
builds a street of Bethulia, a replica of the
city walls and a tract of land was filled
with pitched tents for the campsite of the
HOLOFERNS.
A makeup man helped the fifty or so extras
into their wigs, beards and costumes with an
assist by whatever Griffith regulars weren't
acting that day. Each player was advised to
remember his or her costume continuity. J.C.
"LITTLE" EPPING, the new company accountant,
had the distasteful job of totaling
everything to do with daily expenditures and
explaining them to the Biograph front office.
Mr. Epping is a small, bespectacled man with
a perpetually worried expression. In later
years, he was a financial advisor for
Griffith.
After the exterior scenes were completed, the
shooting of the interiors was begun back in
New York, bringing to a face-to-face argument
the building animosity between Griffith and
the front office. Griffith's vision of a
four-reeler was complicated and the
production costs on JUDITH OF BETHULIA would
rise to the unheard of figure of $36,000.00
Even before the rumors began, his stock
company players knew of the deepseated
unhappiness Griffith was feeling. None of
them felt that they were a part of Biograph,
more a part of the Griffith influence and
loyalty.
When word was to become generally known of
his impending departure, they all awaited
being asked to join him. Even Henry B.
Walthall, who had come back to work on
JUDITH. The front office was not just angry
and frantic over the cost of the film. Their
fury was aggravated by the picture itself;
its length and the depiction of the barbaric
HOLOFERNS, not to mention the gory beheading
scenes. Rumor had it that Adolph Zukor had
tendered an offer to Griffith that was for
$50,000.00 per year, and Griffith had turned
it down.
The film industry was not yet a decade old
and little had been done to make the products
easily accessible to exhibitors. The few film
producers who existed at that time simply
could not keep up with the demand. While the
creative people were still groping to fashion
a technique for this crude form of
communication, business was stepping in and
taking ruthless control. In the race to keep
their nickelodeons filled, owners now had to
outbid one another for the newest films.
While David Wark Griffith is finally told
that another director will be brought in to
make their longer productions, Biograph
informs him that from now on, he would make
only films of one or two reels. The decision
to leave is therefore assured....
Tags : dwgriffith judithofbethulia blanchesweet biograph biographfilms |
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Affichage : 7860
Durée : 2915 s |
| Arthur: D.W.'s Imaginary Friend (Part 1 of 2) |
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Episode 4, Season 1
"D.W.'s Imaginary Friend"
Arthur is annoyed by D.W.'s "Imaginary
Friend", named Nadine, who apparently follows
her everywhere. When Arthur and Buster find
out about a new amusement ride, the
Hurl-a-Whirl, they don't want D.W. to come
along and embarrass them, because she would
most likely bring Nadine along too.
All credit goes to Marc Brown, PBS Kids GO!,
and Cookie Jar Entertainment.
Tags : Arthur Episode D.W. Marc Brown PBS Kids Cartoon Animation |
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Affichage : 31976
Durée : 332 s |
| Sound Check - dw maple, acrylic |
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Dw maple x acrylic
Depois de várias sugestões produzi um
vídeo em meu pequeno estúdio comparando o
som da dw collector's maple, acabamento
original em 'finishply' e os tambores de
acrílico nas mesmas medidas com ferragens
dw. O resultado me surpreendeu,
principalmente pela semelhança nos timbres.
O processo
Fiz uma base usando um bumbo de 20x16, uma
caixa de 12x7 e chimbal, sobre a base gravei
os 'overdubs' com as duas bateras. O tema
central é em 'pergunta e resposta' entre os
dois kits acompanhados pela base, há alguns
improvisos procurando valorizar a sonoridade
dos tambores.
Como na edição de imagens, na mixagem
procurei deixar as duas bateras sutilmente
deslocadas para cada lado: maple à esquerda,
acrílico à direita.
Nos dois kits com medidas, 10,12,14,16 e 22
usei as mesmas peles (remo emperor). No bumbo
e respostas, as peles originais. Usei caixas
diferentes, acompanhando a 'dw acrylic' uma
caixa em birch 14x5 e acompanhando a dw maple
sua caixa original 14x5.
Microfones
Usei os mesmos microfones tentando manter as
mesmas posições.
Bumbo: Eletrovoice RE27
Caixa: Shure SM57
Tons: Le Son LB-4
Overs: Superlux ECO-H6A
Tags : dw renato almeida maple acrylic sound check just beatles solo drum |
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Affichage : 19829
Durée : 146 s |
| DW GRIFFITH A CORNER IN WHEAT 1909 |
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A Corner in the Wheat 1909 Cast: Owen Moore
,George Nichols ,Charles Hill Mailes ,Jeanie
Macpherson, Blanche Sweet, Frank Powell Mack
Sennett Billy Quirk Henry Walthall Kate Bruce
William J. Butler Linda Arvidson, James
Kirkwood, Arthur V. Johnson, Edward Dillon,
Grace Henderson, Frank Evans, D.W. Griffith -
Screenwriter, Frank E. Woods - Screenwriter,
Billy Bitzer - Cinematographer
This is the first film in which Griffith
attempts social commentary. The scenario
parallels the problems of a poor farmer and
the dealings of an ill-fated "wheat king."
Based on the novel "The Pit" by FRANK NORRIS
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(400 DVD TITLES)
DW GRIFFITH AT BIOGRAPH COMPANY BY IRA H.
GALLEN New York City - 1908 - While David
Wark Griffith was looking for work on the
theatre circuit, he meets Max Davidson, an
actor friend with whom he had worked years
before in the Louisville Stock Company. At
Davidson's suggestion, D.W. Griffith
accompanies him to a nickelodeon movie parlor
in lower Manhattan, where Griffith encounters
moving pictures for the first time.
Afterwards, it becomes apparent that
Davidson's reasoning was simply to show
Griffith where he could earn some extra money
until some work on the legitimate stage could
be secured. Davidson himself had already
begun accepting acting jobs in moving
pictures and stressed to Griffith that the
standard rate of pay was five dollars a day
with the added incentive of a fifteen dollar
fee if you could sell them a scenario. To
David Wark Griffith, with the Southern
heritage and scholarly attitudes, he couldn't
see himself condescending to the level of
moving picture acting.
An additional consideration was that
legitimate actors could be placed on a
"blacklist" by appearing in moving pictures,
a policy implemented by some Broadway
producers, such as David Belasco, who held to
the opinion that the moving pictures were a
degradation of legitimate theatre. Where
moving pictures once shared the bill on the
vaudeville stage; upper class patrons who had
once accepted the form as entertainment now
were of a scornful opinion and left moving
pictures for the lower classes to derive
whatever enjoyment they could find from the
medium.
Griffith and his wife, Linda, decide to try
it out with Griffith beginning first. He used
the stage name of Lawrence Griffith,
preferring to leave his real name until he
could associate it with some-thing more
dignified, and attempts to sell a script to
the American Mutoscope & Biograph Company.
Tags : GRIFFITH BIOGRAPHFILMS DWGRIFFITH GRIFFITHFILMS |
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Affichage : 5099
Durée : 855 s |
| DW GRIFFITH THE MOTHERING HEART 1913 LILLIAN GISH |
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The Mothering Heart 1913 cast: Lillian Gish
-The Young Wife, Joseph McDermott ,Mae Marsh
,Peggy Pearce, Adolphe Lestina, Walter
Miller, Charlie Murray, Charles H. West,
Viola Barry,Gertrude Bambrick ,Blance Sweet,
Mae Marsh, Josephine Crowell, Kate Bruce ,
Donald Crisp Billy Bitzer - Cinematographer
Summary: The Mothering Heart was one of six
films Griffith was producing and directing at
the same time in California 1913, and the
first major roll for Lillian Gish. Against
her better judgment the young women(Lillian
Gish), marrys a man shes not sure is the
right person(Walter Miller). During the hard
times together the wife takes on jobs doing
laundry until better days come for her
husband. But the Husband starts to do well
and becomes discontent with his wife and
unhappy the way she looks.
Its while he takes his wife out for dinner
that he starts to flirt with a women(Peggy
Pearce) at another table and soon takes up
with her after a chance meeting.Its when
Lillian whos now expecting a baby finds the
womens gloves in the husbands jacket that her
suspicions are aroused. She leaves him to
have her baby at her mothers home as the man
dates the other women.
Its at dinner one night that the women meets
another man flirting with her from another
table(Charlie Murry) and runs off with
him.The husband goes back to Lillian for
forgivenes to learn that his baby has died.
For what every reason Lillian will forgive
him, and they hug and hope to start over the
right way.
Take note of Henry Walthal and Mae Marsh as
extras having dinner, as well as Donald Crisp
and Blanche Sweet dancing together as
performers on the stage in the resturant.
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(400 DVD TITLES )
DW GRIFFITH AT BIOGRAPH BY IRA H. GALLEN
What soon ends Griffith's association with
the Biograph Company will be the events
surrounding the production of three films:
THE BATTLE OF ELDERBUSH GULCH, THE MOTHERING
HEART and JUDITH OF BETHULIA. All three are
being made at the same time, each one was
different and highly involved in scope and
production value. They're made with the same
cunning he used in his other battles with the
front office.
The question on the audiences lips was now
reaching across all class boundaries; the
D.W. Griffith method riveted them in their
seats or had them sitting up on the edge of
the seats, awaiting the outcome. Moving
picture audiences were now coming to feel as
well as see the stories on the nickelodeon or
movie parlor screens in front of them.
Griffith's acting company would soon be
operating in such a fashion as to be
completely independent of any one actress or
actor. Each category of character was staffed
in depth by Griffith.
He had the practice of alternating casts
which kept any one player from becoming too
important. This kept them from knowing their
importance with the public for a period of
better than three years. In this fashion,
salaries were kept quite low.
Moving pictures were still produced in a
highly improvised manner. Griffith would
never be found using a shooting script of any
sort which outlined the action. The synopsis
was carried in his head. If one scenic
background that was called for in the story
was unavailable, he changed the background
and altered the story to fit. Production
problems as well as the continuity of the
story that was being shot were also kept in
Griffith's head.
What makes it all work was that those who
stayed on to learn and work with Griffith
soon became a permanent part of his stock
company and assisted him in his decisions as
well as in carrying out his orders. Whenever
an actor or actress was not actually
appearing in a story, they might be seen in
the background, working on a Griffith errand
or carrying a prop.
Tags : dwgriffith biographfilms lilliangish griffithfilms |
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Affichage : 6408
Durée : 1386 s |
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