Joey Scoma compares and contrasts versions of the 1958 film Touch of Evil and shows us how the arduous process of editing pushes and pulls the overarching narrative of a film. Take a page out of this incredible piece of film history and see how even the most minor of edits can act as a powerful storytelling tool.
The editing process is one of the most elusive parts of filmmaking to learn. It's rare to get a glimpse into decisions filmmakers make in the edit bay. With the film Touch of Evil, we are afforded a glimpse into the thought process of Orson Welles.
After writing, acting in, and directing the film, Welles was abruptly fired from the production after Universal studio execs saw the rough cut and worried its unconventional narrative would tank. What followed was a back and forth struggle over the final cut between Welles and the studio, and resulted in the incredible 58-page memo detailing Welles' editorial notes. Some of his requests were addressed, but Universal released its version of the film in 1958. When a previously unreleased cut of the film was discovered in 1976 and in 1998, film editor Walter Murch reconstructed Welles' original vision using his memo as a guide.
Color is one of the most effective tools in a storyteller's arsenal. From fiery red, to the coldest blue, a great filmmaker knows just what colors to paint on the screen. Move over light and shadow, lets take the color wheel for a spin! Here are the very best uses of color in a movie, ever!
Okay, I've finished the radiotherapy. Time to chill and wait on the next stage. So, here's a live studio performance of Tubular Bells, Part 1, as recorded by BBC TV.
And, just to balance things, here's a documentary of the making of Tubular Bells. Fascinating.
It's always hard to say goodbye to people and things we love. Sometimes, even more so with films that touch our hearts. Storytellers understand this struggle more than the rest of us and find meaningful ways to help us cope with departure to the worlds we encounter in cinema. These are the best closing title sequences in movie history.
Harold Lloyd ranks alongside Charlie Chaplin and Buster Keaton as the one of the most popular and influential film comedians of the silent film era.
He made nearly 200 films between 1914 and 1947. His films frequently contain extended chase scenes and daredevil physical feats. Lloyd hanging from the hands of a clock high above the street in Safety Last! (1923) is one of the most enduring images in all of cinema.
Beginning in 1921, Roach and Lloyd moved from shorts to feature length comedies. These included the acclaimed Grandma's Boy, which, (along with Chaplin's The Kid), pioneered the combination of complex character development and film comedy. Safety Last! (1923) cemented Lloyd's stardom. It is the oldest film on the American Film Institute's List of 100 Most Thrilling Movies.
Lloyd became an independent producer in 1924. His films from then included Girl Shy, The Freshman (his highest-grossing silent feature), The Kid Brother, and Speedy, his final silent film. Welcome Danger was originally a silent film but Lloyd decided late in the production to remake it with dialogue.
All of these films were enormously successful and profitable, and Lloyd would eventually become the highest paid film performer of the 1920s. From this success he became one of the wealthiest and most influential figures in early Hollywood. Lloyd was a founding member of the Academy of Motion Picture Arts and Sciences. However, his go-getting screen character lost touch with Great Depression movie audiences. His popularity declined, as did the fortunes of his production company.
Lloyd produced a few comedies for RKO Radio Pictures in the early 1940s, but otherwise retired from the screen until 1947. He returned for an additional starring appearance in The Sin of Harold Diddlebock, an ill-fated homage to Lloyd's career, directed by Preston Sturges and financed by Howard Hughes. The finished film was released briefly in 1947, then shelved by Hughes.
Lloyd received an honorary Oscar in 1953 for being a master comedian and good citizen. In 1962/63 he compiled some of his silent comedies into two documentaries,World of Comedy and Funny Side of Life. He died in 1971 at the age of 78. ______________________________
Here is a seven minute excerpt from the film, including the famous clock scene.
Or, if you have the time, here is the complete movie. (Take special notice of the brilliant visual setup of the opening scene.)
