Archive for May, 2012

… and I mean the Broadway musical, not only the movie.

1. You “Need” To Work in the Arts
In the song “What I Did For Love” they sing about “we did what we had to do”. For some careers one is called to take them on. For the arts, however, I believe you have to “need” to do it. Working in the arts is very demanding on so many levels, and rewarding in unique and incredible ways. It’s not for the feint of heart… somewhere inside you, you “have to do it” to survive and blossom in it.

2. Exceptional Talent is in Any Department
The musical is about the performers auditioning to be in a chorus line, not to be in starring roles. The chorus line performers are the stars. Each one of them has exceptional talent to be where they are – whether they get the job or not. So too with a film crew – exceptional talent lies in any department and at any level… and it’s a thrill to discover and honour to work alongside such folk.

3. The Story Can Be Experienced in Different Forms
We’ve all seen books filmed that don’t match the book experience and wondered why the movie couldn’t get the story closer to the story in the book. I’ve seen “A Chorus Line” on Broadway, and then later adapted in a dinner theatre, and again later adapted into in the movie. The dinner theatre didn’t have enough space on the stage for the entire chorus line, so they cut a couple of parts and re-assigned certain songs and parts of songs to other chorus line members. Indeed the intimacy of the dinner theatre could not duplicate the grandness of Broadway… so the story was adapted to its environment… and oddly enough it was hard to see where the changes were made (they did it so well). To successfully adapt a story from one medium to another, you have to really understand the two mediums and find how the story will best be experienced.

Cheers & a good shoot to you,


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World War anniversaries have me thinking about Blackadder screen credit.

It’s impressive when tail credits stretch beyond the fast-flashing cards or speedy roll to take on the thematic tone of the movie – even for a portion of list. Blackadder Season IV, however, really goes to town (or to war, in this case) with matching theme of the screen credits to the content of the show. Season IV is the WW1 season, and the tail credits are in cards over scratchy “newsreel” footage:

Captain Edmund Blackadder
Private S. Baldrick
General Sir Anthony Cecil
Hogmany Melchett
Lieutenant The Honourable
George Colthurst St. Barleigh
Captain Kevin Darling
Title Music
Composed and Arranged by
Played by
The Band of the 3rd Battalion
The Royal Anglian Regiment
(The Pompadours)
P/Br. 647989 Libotte, J
Vis/E. 110143 Turner, R
Tech/Co. 289346 Massen, D
V/M 420372 Abbott, C
VTE. 614981 Wadsworth, C
Cm/S. 841842 Hoare, J
S/Svr. 733731 Deane, M
Dep/Svr. 713429 Way, N
L/Dr. 991243 Bristow, R
P/Mgr. 323476 Cooper, D
P.Att. 114209 Sharples, V
AFM 529614 Kennedy, J
C/Dgr. 368807 Hardinge, A
M/U Dgr. 862641 Noble, C
Dgr. 404371 Hull, C
Dir. 232418 Boden, R
Prd. 597602 Lloyd, J

Often with contracts specifying exactly how one’s name should be spelled in on screen, it’s doubly-impressive to see these particular credits. They become an integral part of the show and you want to watch and puzzle-out the whole list. Who decides what everyone’s number is?

So… are you inspired? What can you do to really integrate the screen credits to your film?

Cheers & creative credits to you,
P/Mgr. 970210 Patz, D

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