Tuesday, May 6, 2014

William Castle; Final Short Film Project

The Wonderful World of William Castle

Competing with a growing television audience, filmmakers in the 1950's had to entice viewers into seeing their films. Trailers were the ticket! The worse the film, the greater need for an effective trailer. Of the best promoters of his directing and producing work, William Castle looms over all others.

"William Schloss was born in New York City. Schloss means "castle" in German, and William Castle probably chose to translate his surname into English to avoid the discrimination often encountered by Jewish entertainers of his time. He spent most of his teenage years working on Broadway in a number of jobs. He left for Hollywood at the age of 23, going on to direct his first film when he was 29. He also worked an as assistant to Orson Welles, doing much of the location work for Welles' noir film, The Lady from Shanghai."

Castle was famous for directing low budget B-films with many overly promoted gimmicks. Five of these were scripted by adventure novelist Robb White.

After a long career, William Castle died of a heart attack in Los Angeles in 1977.

His films include:

Macabre (1958): A certificate for a $1,000 life insurance policy from Lloyd's of London was given to each customer in case he/she should die of fright during the film. Showings also had fake nurses stationed in the lobbies and hearses parked outside the theater.

Utube clip: Macabre:

House on Haunted Hill (1959): Filmed in "Emergo". An inflatable glow in the dark skeleton attached to a wire floated over the audience during the final moments of some showings of the film to parallel the action on the screen when a skeleton arose from a vat of acid and pursued the villainous wife of Vincent Price. The gimmick did not always instill fright; sometimes the skeleton became a target for some audience members who hurled candy boxes, soda cups or any other objects at hand at the skeleton.

The Tingler (1959): Filmed in "Percepto". Some seats in theatres showing the Tingler were equipped with larger versions of the hand-held joy buzzers attached to the underside of the seats. When the Tingler in the film attacked the audience the buzzers were activated as a voice encouraged the real audience to "Scream - scream for your lives."

13 Ghosts (1960): Filmed in "Illusion-O". A hand held ghost viewer/remover with strips of red and blue cellophane was given out to use during certain segments of the film. By looking through either the red or blue cellophane the audience was able to either see or remove the ghosts if they were too frightening. 13 Ghosts.

Homicidal (1961): This film contained a "Fright break" with a 45 second timer overlaid over the film's climax as the heroine approached a house harboring a sadistic killer. A voiceover advised the audience of the time remaining in which they could leave the theatre and receive a full refund if they were too frightened to see the remainder of the film. About 1% demanded refunds, but were subjected to demasculation and called "cowards". Homicidal clip.

Mr. Sardonicus (1961): The audiences were allowed to vote in a "punishment poll" during the climax of the film - Castle appears on screen to explain to the audience their options. Each member of the audience was given a card with a glow in the dark thumb they could hold either up or down to decide if Mr. Sardonicus would be cured or die during the end of the film. Supposedly, no audience ever offered mercy so the alternate ending was never screened.

Zotz!
 (1962): Each patron was given a "Magic" (gold colored plastic) coin which looked nice, but did absolutely nothing.

Strait-Jacket (1964): Castle had cardboard axes made and handed out to patrons. This film, by the way, starred Oscar winner (not for this film) Joan Crawford - Mommy Dearest herself.

I Saw What You Did (1965): Seat belts were installed to keep patrons from being jolted from their chairs in fright.

Other film trailers from William Castle:

The Old Dark House (designed by Charles Addams: the illustrator/writer who created "The Addams Family")
The Night Walker
Let's Kill Uncle
Thirteen Frightened Girls

William Castle acted as producer to Roman Polanski's direction of: Rosemary's Baby The film remains one of the most artistic Castle productions ever made.

Today (1st period), after viewing and learning about William Castle, please join a film group of 1-6 people. Once you have a group, please complete the following tasks today in the lab.

A. Choose a member of your group to be a producer. You may select a second person to be the assistant producer. The producer(s) will select and assign roles to the rest of the film crew. It is ultimately the producer's job to make sure the film is completed on time and is made by the deadline. No deadline has been chosen just yet, but it will be your final film for the year.

B. The producer should hear the group pitch ideas. Go around your group and TAKING TURNS, throw out ideas for a film that you could shoot for your final project. Try ideas in different genres and styles. The producer should just LISTEN and record ideas that he/she likes best. Keep pitching ideas until there are no more ideas from the group. The producer should choose the best idea from the list. The producer has final say on what ideas get turned into a script for the movie.

C. The producer should assign 1-3 writers to work on a 1-page treatment. WRITERS should write the treatment and be prepared to share it with the group by next class.

D. The producer should select the following roles for a film crew:

  • a director
  • an assistant director (to take over if the director is absent)
  • a cinematographer or director of photography
  • a primary or head writer
  • writing assistant(s)

The producer, director, and cinematographer should help the writer write the shooting script for the treatment. The script should be between 5-10 pages at most. Remember that you will need to constrain or limit your idea to a SHORT FILM. This is not the epic, high budget film you might have written for your previous screen play project.

In summary:
Before the end of class today, please complete the following
--Choose a producer (or producers)
--Choose a writer and/or an assistant to create a 1-page treatment

If you have time, complete the following as well:
--Producer should choose a director
--Producer should choose a cinematographer (director of photography)

HOMEWORK: Complete the 1-page treatment for next class. 

Sunday, May 4, 2014

Script Project Due; Samuel Z. Arkoff & The Cold War Sci Fi Genre

This morning, please complete your film scripts. These scripts are due by the end of the class. They are major assignments for this marking period. Please complete them and turn them in today.

If you finish early, please read the handout on Samuel Z. Arkoff and American International Pictures. The material below will help you understand this period of history as we move into the strange 1950's. Please take notes of key ideas and information.

From IMDB.com:

"By the early 1950's, Samuel Z. Arkoff was a brash lawyer scratching out a living by representing his in-laws and the Hollywood fringe, which included many of now-infamous director/angora-clad transvestite Edward D. Wood Jr.'s social circle. Arkoff was physically imposing and capable of scaring anyone who opposed him. One of his clients was Alex Gordon, a screenwriter who had submitted an unsolicited script to Realart Pictures, an outfit that was profitably re-releasing 20-year old movies, often under new titles conjured up by it's owner, Jack Broder.

One such film, Man Made Monster (1941), had just been re-issued as The Atomic Monster, coincidentally the same title of Gordon's screenplay. Zarkoff, smelling blood in the water, paid Mr. Broder a visit and incredibly, obtained a $500 settlement. Broder's sales manager, James H. Nicholson was dumbfounded by Zarkoff's ability to extract a dime out of his tightfisted boss and proposed a partnership. American Releasing Corporation was founded in 1954 and their first release was a low-budget feature by 29-year old producer Roger Corman. Made for less than $50,000, it netted $850,000 and Corman was brought into the fold as a silent partner.

By 1955 the company was renamed American International Pictures, or simply AIP within the industry. Initially focusing on westerns on the premise that locations came cheap, and although profitable, Arkoff was unhappy with the returns and solicited theater owners for advice on what types of films filled seats. By the mid-1950's, thanks to television, the audience numbers had dwindled considerably with the key demographic now teenagers and young adults, who craved horror movies and drive-ins. AIP jumped into the horror genre with both feet and made a fortune. Under the aegis of Nicholson and Arkoff, the company survived in a constricting industry by catering to the whims of the teenage trade and adapting to trends.

AIP's long (350-plus) roster of kitsch classics, running the gamut from horror to rock'n'roll, from juvenile delinquency to Italian musclemen, and from Edgar Allan Poe to Annette Funicello, have formed their own unique niche in film history. His company became infamous for clever advertising schemes that were often more entertaining than AIP's movies.  Arkoff never tolerated egos and his films were more often than not, profitable, thanks to tight budgets and a sharp understanding of the target market. After Nicholson's 1972 resignation, Arkoff assumed full control of the company and remained in charge until the 1979 merger with Filmways prompted his own departure. He then became the head of Arkoff International Pictures."
Science Fiction (or sci-fi)

The Cold War and the fear of nuclear annihilation by the communists is reflected in the many b-films made in the 1950's. Here's a sampling. Enjoy!

Them (1954)
Forbidden Planet (1956) (starring Leslie Neilson, this is based on Shakespeare's The Tempest)
The Blob (1958) (starring Steve McQueen)
Invasion of the Saucer Men (1957)
Plan 9 From Outer Space (1959) Ed Wood’s terrible film masterpiece!
Attack of the 50 Foot Woman (1958)
Attack of the Giant Gila Monster (1959)
Attack of the Giant Leeches (1959)  


Ed Wood (Jr.) (10 October 1924 – 10 December 1978) was an American screenwriter, director, producer, actor, author, and editor, who often performed many of these functions simultaneously. In the 1950s, Wood made a run of cheap and poorly produced genre films, now humorously celebrated for their technical errors, unsophisticated special effects, large amounts of ill-fitting stock footage, idiosyncratic dialogue, eccentric casts and outlandish plot elements, although his flair for showmanship gave his projects at least a modicum of critical success.

Wood's popularity waned soon after his biggest 'name' star, Béla Lugosi, died. He was able to salvage a saleable feature from Lugosi's last moments on film, but his career declined thereafter. Toward the end of his life, Wood made pornographic movies and wrote pulp crime, horror, and sex novels. His posthumous fame began two years after his death, when he was awarded a Golden Turkey Award as Worst Director of All Time. The lack of conventional film making ability in his work has earned Wood and his films a considerable cult following.
Roger William Corman (born April 5, 1926), sometimes nicknamed "King of the Bs" for his  output of B-movies, is a prolific American producer and director of low-budget movies, some of which have an established critical reputation: many of his films derived from the tales of Edgar Allan Poe.

Corman has apprenticed many now-famous directors, stressing the importance of budgeting and resourcefulness; Corman once joked he could make a film about the fall of the Roman Empire with two extras and a sagebush.

It Conquered the World (1956)
The Little Shop of Horrors
 (1960)
The Raven (1963)

HOMEWORK: Please read/take notes on the information posted here. Read the article on Samuel Z. Arkoff and in 1 paragraph, please explain how this producer and his company AIP helped influence film.

Thursday, May 1, 2014

The Maltese Falcon (conclusion)

We will watch the rest of this film. When you are done, please go to the lab and work on your film scripts.

Film scripts are due Monday.

HOMEWORK: Complete your film script. Additionally, please turn in your outline "essay" for The Maltese Falcon.

Tuesday, April 29, 2014

Maltese Falcon; Test on 1930's-1940's film

After our test, we will continue screening The Maltese Falcon.

HOMEWORK: Continue to write your short film scripts. The script is due Monday, May 5.

Friday, April 25, 2014

Scripting; AP meeting; Test Prep

If you are taking an AP class, please go to the ensemble theater this morning.

This morning for the rest of us, please work on your film scripts. See previous posts, handouts, and use your treatment as a starting point for your project.

If the AP students complete their bubbling and return, we will continue watching The Maltese Falcon.

HOMEWORK: Your script is due Monday, May 5. Please work toward its completion. Our test on 1930's-1940's film happens Tuesday. Please study your notes and materials for the test. See our blog post below.

Wednesday, April 23, 2014

Film Test: 1930-1940

Please review for your exam:
Film trends in the 1930's
Sound in film
Laurel & Hardy: The Music Box
Hal Roach, The Little Rascals
Positive/Negative effects of Sound in Film
The Jazz Singer
Joseph P. Maxfield
The Vitaphone
Technicolor
Narratology: Realist, Classical, Formalistic film styles, narrative techniques
Cross-cutting, montage, multiple perspective
RKO studios
Walt Disney Studios: Flowers & Trees, Snow White and the Seven Dwarfs, The 3 Little Pigs, Mickey Mouse, Donald Duck films from the 1930's, other Disney animation
The Wizard of Oz & Judy Garland
Gone With the Wind & Clark Gable
It Happened One Night (Screwball Comedy)
Cary Grant
Jimmy Stewart
Becky Sharp, The Black Pirate (2-strip technicolor)
The 1930's Star System 
The Marx Brothers

Alfred Hitchcock: Rope (1947) 
Television: and its effect on film
Drive-In Movie Theaters 
HUAC: and its effect on film
The Maltese Falcon (1941) 
Citizen Kane (1941) 
Orson Welles: and his influence on film/cinematography
Film Noir: characteristics and style of the genre
 HOMEWORK: Study for the exam, April 29.

Tuesday, April 22, 2014

Film Script Writing; Film Noir & The Maltese Falcon

The Elements of Film Noir (documentary)

Please take a look at the clip above and watch the Orson Welles Citizen Kane blog post and links (see posts below) this morning or as homework by next class. During period 1, please work on your script project.

Use your treatment (this should already be written). Open the same file.
In script format, add details, dialogue, description, camera work, etc. that you think would be important to include to tell your story in a creative way. Refer to the handouts about how to format your script. You can also check here for more info.

During period 2, we'll go next door to begin our screening of the film noir classic film: The Maltese Falcon. Here are a few things to watch for as we screen The Maltese Falcon:

1. A protagonist that is cynical or detached
2. A femme fatale who leads the protagonist astray
3. A mystery, crime, or use of suspense
4. A naive scapegoat to take the rap of some "crime"
5. Goons (hired criminals who give the protagonist a hard time)
6. Razor sharp dialogue
7. Reference and description of low key lighting

The Maltese Falcon, directed and written for the screen by John Huston
Based on the novel by Dashiell Hammett
Other film noir films of the 1940's:
The Third Man 
The Big Sleep
Double Indemnity (full film)
Casablanca

Now a little technique and advice about making films:
HOMEWORK: Please continue writing your film script. The script is due May 5. Complete as much homework as needed to meet this deadline. If you have not yet done so, watch and take notes on the Citizen Kane clips below (and read the handout given to you before break on Orson Welles). 

The Murky Middle (Even More Advice)

Aristotle wrote that stories should have a beginning, middle, and end. Middles can be difficult. You might have a smashing opening to a stor...