Tag Movie Credits

“The End” is not as near as it once was

Michael 18 Comments

I’ve noticed a disturbing trend that’s been going on for years, and it’s mostly most disturbing (mostly) because I’ve not noticed is before, yet it’s really mostly out there, like more than it isn’t. What you asked? Go ahead and ask, I’ll wait. What? Oh I’m glad you asked. “The End” is missing. That practice that once was a staple on movie end title cards, and in books on their end pages of declaring the end as “The End” is ending, in fact, seems to have indeed ended, and nobody is in a hurry to bring it back.

It may seem a silly thing, in fact it most probably is a silly thing, but that “The End” wrapped things up neater than solving a locked room murder. It closed the book, as it was. It put the stamp of a job well done on a job well done. There was no mistaking when you got to the end that it was the end. Any cliffhangers, unanswered questions, or unresolved loose ends, were more often the result of your not having paid attention to some seemingly unimportant detail than it was to the author’s or screenwriter’s lack of imagination or meticulous care to continuity.

It seems to me, the disappearance of “The End” occurred quite simultaneously to both print and film media, not unlike the unexplained (although welcomed by me), change of printing copyright dates in Arabic numerals rather than Roman numerals. (If you’re intrigue by that, check out my post here. It doesn’t explain it but I do have fun talking about it!) (But back to “The End” which I’m sure you’re now hoping we are getting close to as far as this post is concerned.) I noticed, or I think I noticed, “The End”’s demise in books and at movies because I’ve been on an odd quest (yes, odd even for me) of attempting to read the source material of all the old movies I am so addicted to. I want to see if the observations I made last year about movies based in books in the early days of the Hayes Code were more universal than just those handful of stories i mentioned

Even the most casual of casual readers knows that I much prefer movies of the 1930s, 40, 50s, and in a pinch, very early 60s to any other dreck put out since, but that’s just my opinion. Why do I say “attempting to read” the sources of the screenplays of those early movies? Because the source material is not always 1)known, 2)published, or 3) available even if it is both 1) and 2). But in those cases I have found a source that 1), 2), and 3) and the material ended in “The End” (or the more exotic “Finis”), so did the film. Those that did not, neither did they, and they did not about the same time as movie credits expanded to included everybody who happened to be in Hollywood at the time of filming, perhaps to make up for the lost screen time and then some by not including “The End.”

And so I suppose I’m going to have to watch more and more 60s and maybe even 70s vintage films to see exactly when movie producers decided it was more important for us to know who drove the catering trucks than that the movie is over, now please go back to your real lives.

And now, please go back to your real lives.

-The End-

Bonus points if you can identify the movie from the end title card below.

Do you plan so much you never get around to doing? When you do, are you overly concerned about what others think about what you’ve done? The most recent Uplift! explores why it is better to just do, and then do some more! Approximate reading time – 2 minutes.

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More things I think I think, I think

Michael 2 Comments

Sometimes I think those things that I think and I think what the heck am I thinking? For example for instance like:

We all have had red towels or blue jeans or black shirts that we will not under any circumstances wash with anything else the first maybe 3 or 4 times until the color stops bleeding because we don’t want to pull pink, or robin’s egg blue, or gray clothes from the washer. But we don’t do that with white. Most white textiles don’t start out that white. That’s a dye that makes them white but we happily toss them in the wash right from the get go. Every now and then as we are we sorting and folding and hanging and doing whatever in order to out away those freshly laundered clothes we will look at a load and say, darn, these shirts/jeans/towels/socks and underwear are fading.  Has anybody out there ever considered that maybe they aren’t fading but those new white jeans you tossed in the load had bled white dye? Just wondering.

Or make this for like example:

Remember when I talked about my microwave being a real nag. It still is and it still beeps periodically whenever I’m not in a hurry to take out whatever it was that I put in there. And I asked, who forgets they put food in the microwave? And then I answered myself. Stoners man. Well, I’ve been so intent on making sure I get stuff out of the microwave in a timely manner before it beeps at me, that I never noticed when I open the door, it beeps at me. Why? I know I’m opening the door. Do I have to be warned that I’m opening the microwave door? Who else would care that the microwave is being opened? And then it dawned on me…stoners, man! Those same guys who would stick a bag of popcorn in the microwave and in 90 seconds completely forget about it, are the ones who would want to know if somebody else is making off with their popcorn!

Or sometimes like this:

Regular readers, or even irregular readings if they read the right posts, know I like old movies. Old like 1930s, 1940s, in a pinch maybe early 1950s movies. As far as I’m concerned, and as far as anybody else with half a brain knows, they were just better back then. Really long term readers know I like to read movie credits. They were better back then too. They were certainly easier to read. A casual movie goer has no idea who did the accounting or catering or painted the scenery for Casablanca. As it should be. It seemed sometime in the 60s, when movie making took a decisive down turn in quality, they also wanted the viewer to know everybody who came close to the camera, even the guy who drove the truck that pulled the trailers the movie stars hung out in when they weren’t in front of the camera. It was sometime then they also made a monumental change in the credits besides just crediting everybody and their proverbial brothers. And this one made sense. The copyright date. Sometime in the 60s or maybe 70s, they started publishing the copyright date in Arabic numerals. Those are the numbers like 1,2, 3 (which is weird because they were “invented” in 6th century India) rather than I, II, III (you know, Roman numerals, which oddly really were invented around Rome, or roughly the area that modern day Tuscany occupies). You can read the entire credit crawl of In a Lonely Place and never lose your place until you get to the copyright. Then it’s “hmm, let’s see, MCM, that’s easy 1900. Okay now, XLI… dammit, come back! I almost had it…wait, that’s too many characters anyway. It came out in ’50, that’s just L. Or did it. Oh H-E-double hockey sticks, now I have to go look it up.” Even old books published copyright dates in Roman Numerals. Why couldn’t they have used real numbers then? Was there a law? We got a bunch of other crazy laws, so maybe so.

And then that started me thinking about crazy laws but we’ll let them pass for now.

If you’re curious…In a Lonely Place indeed was released in 1950 (MCML) but the screenplay was copyrighted in 1949 (MCMXLIX).

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Script Girl

Michael 2 Comments

February might be my favorite month. It’s certainly in the top ten. (I can do without March and its schizophrenic weather patterns and August’s unending humidity. The rest are okay.) February is among my favorites because of the Academy Awards. Quite honestly I don’t think I could possibly care less who goes home with an Oscar this year. I love February because of the old winners.

I love old movies and there is no better time to get a fill of them than in the month leading up to the Oscars. Whether your film love is for musicals, thrillers, book adaptations, war, epics, comedies, or tragedies you will find it on a small screen near you in February. February is when movie services and networks go all out to rake in the viewers with past nominees and winners. The good movies. The ones produced before Hollywood decided America needed a conscience and it was the perfect choice. These are the ones you watch and say to yourself, “they wouldn’t do that today.”

Something else about those old movies they don’t do today is the credits. (Hmm. Some things else are the credits?) I’ve bemoaned the state of movie credits before but it never rears its ugly head as much as now when the screens are filled with the elegance of crediting those who deserve credit and not every Tom, Dick, and Harriet who come close to the set or is close to the financiers.

Buried in those early credits is another thing “they wouldn’t do today.” Among the actors, director, producer, editor, cameraman, set designer, and costumer, almost always is “Script Girl.” Sexism notwithstanding, the title was gradually changed to Script Supervisor in the 60s and 70s, long before males entered the role. But for years, and as long as February remains Oscar Movie Month, for years to come, “Script Girl” was how the continuity expert was defined around the world. Literally.

AdmitOneJust over the weekend I was watching the 1974 Best Foreign Language Film winner, François Truffaut “Day for Night.” (Reading maybe as much as watching as my French comprehension was never as good as my high school grades suggested. Hooray for subtitles.) As the credits rolled (before the movie as they should be) after the acteurs, among the équipage, and before the producteur and the réalisateur was “Script Girl,” just like that, en anglais, capitalized, and in quotes.

And what does this “girl” do. At one time she or he, although then it was almost exclusively she would be the director’s secretary and would record information about how of each scene was shot, prompt actors, and often write notes to be used in publicizing the movie before it’s release. Today the Script Supervisor also keeps notes of wardrobe, props, set dressing, hair, makeup and the actions of the actors during shooting to assist the editor in maintain continuity during and between scenes. Thus when the hero enters a scene with a half full cup of coffee it doesn’t turn into a can of ginger ale 24 seconds later in the final cut.

I’d love to stick around longer and talk about old movies but there’s only 17 days left to February and my DVR is filling up. I have to catch up on some classics today.

No Friends in Close Places

Michael Leave a comment

About a week ago we went to the movies. We hadn’t been there for a while, there was a movie playing that we wanted to see, and it was showing at a time we were able to see it. We got there in time for the coming attractions (we’re never sure why but we almost always do) and thus had plenty of time to pick out some good seats. So we thought.

There were already quite a few taken, or to put it another way, there weren’t all that many left to choose from. But choose we did and over the half hour that the upcoming trailers took we watched as many couples filed their way past us and the remaining two inside seats on our row. All of those many couples found other seats for them to park their seats and we breathed that sigh of relief that we could leave our popcorn and soft drinks and jackets as they were. Until the opening credits of the movie. That’s when the two old ladies ambled up the aisle, squinted in the darkness, pointed beyond us and started moving in. They weren’t even going to wait for us to make passage room for them. The movie was starting and they wanted to sit down!

Things like that happen. We’re usually ok with them when they do. It wasn’t until these two worked their bulks past us and plopped into the seats next to She that we realized they weren’t just a couple of old ladies. They were a couple of old ladies wearing old lady perfume. Now this was a somewhat quirky movie which means it required just a little thought to keep all of the characters and subplots tied together. That’s where the popcorn comes in. Popcorn ties thoughts, but that’s a post for a different day. One thing popcorn does not do is provide a fragrance free zone safe from old lady perfume. So for two hours and some-odd minutes we lost bits and pieces of the movie because our brains were too intent on a) figuring out why these two old ladies would venture out drenched in old lady perfume knowing they would be in close quarters; and b) what was that scent anyway? It even drove us out before we could read the entire closing credit crawl which often times is the best part of the movie, particularly quirky ones, particularly when one is distracted by old lady perfume.

For a few dollars more we could have had the reserved seating in this theater. We rarely do because there is rarely a need. We’ve discovered the need. A quick glance behind us revealed many seats were available in the high rollers section. So that did it for us. Next time and every time, that’s where our seats will be seated.

Although we couldn’t confirm it, we’ve been wondering if perhaps the two old ladies might have been working for the theater, creating the demand for those seats while the supply was amply available. Probably not. Even in a big corporation like the one running those screens we just couldn’t see how the local manager would be able to justify that much old lady perfume when the end of the month bills came in. Nor find a couple of old ladies to sit through two-plus hours of a quirky movie. Old ladies don’t do quirk. They do musings. Probably about perfume.

Now, that’s what we think. Really. How ‘bout you?

 

Credit Where Credit Is Due?

Michael 1 Comment

Over the last couple of weeks, we’ve seen a lot of movies.  It must be winter.  It’s much more comfortable sitting in a cozy theater nibbling on popcorn than speeding around an ice skating rink at 15 miles per hour in 15 degree weather.  Then again, maybe we just like movies better.  For whatever reason, over the last couple of weeks we’ve seen a lot of movies.

You’ll remember that a couple of weeks ago we wrote about watching a television network’s idea of the greatest movie ever filmed.  We disagreed with that but we watched it all the way through.  It was from the 1940’s so you really didn’t have to watch it all the way through to read all the credits.  They were all in front of the movie, some before the title, some after, and all of them taking a grand total of about a minute to read.

The movie that we saw most recently was filmed in the 1990’s and was nobody’s pick of the greatest movie ever filmed but not a bad story.  We stayed at the end of the movie to read the credits all the way through.  That took about 7 minutes.  Then there was the last of the new releases that we saw in the cozy theater with the popcorn.  It was nominated for a bazillion Academy Awards and someday will be on somebody’s list of the greatest movies ever filmed but we’ll probably disagree with that also.  We stayed all the way through to read those credits and those took about 15 minutes to read. 

So where are we going with this?  We aren’t sure either but we wonder who all these people are.  Some of them clearly have something to do with the movie.  That might be the Third Unit Director.  Director of any unit should have something to do with the movie important enough to get noticed.  But Assistant Paint Foreman?  We’re not kidding.  How about Catering Auditor?  We don’t doubt that somewhere in the making of this movie somebody audited the caterer’s invoices.  And for that they are mentioned at the end of the movie.  Hmm.   

Many people are involved in bringing you your morning newspaper.  There are the writers, the editors, the publisher.  These peoples’ names are prominently mentioned so you can ooh and ahh over them.  And several people are required to get you your semi-annual teeth cleaning.  There is the dentist and then there is the hygienist, and the office receptionist.  You probably won’t see the name of the person who services the dental chair on your dentist’s statement any more than you’ll see the person who changes the oil in the car of the person who delivers you newspaper noted on the masthead.  Yet aren’t these the equivalent of the catering auditor? 

So we have to ask, are we being too generous with the credits for those who work in the movies, or not generous enough with those who really make a difference in our lives.  We wonder about that.  We really do.

 

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Now, that’s what we think. Really. How ‘bout you?