flat panels (Craig panels), 6, 55–59, 56, 86–87, 98, 163
flat screen television, 55
floor lamps, 13, 133
focal lengths, 162, 164
focus, 15, 162, 164
folding flaps, 60
Foley sounds, 99, 160
food, 38, 41, 94, 128, 129, 135
football games, 53, 85, 95, 156
foreign languages, 6, 99
formulas, 83
For Whom the Bell Tolls, 25
frame rate, 43–44, 93, 147, 161
frame rate converters, 44, 161
frame size, 160
framing, 155, 160
Frankenheimer, John, 2, 3, 24–25, 75
Frederickson, Gray, 5–6
“free spots,” 133
French Connection, The, 28, 39
Friedkin, William, 39
Fuchs, Fred, 78
Funt, Allen, 105
furniture, 10, 34–35, 41, 129, 133, 145, 150
gaffers, 161
games, theater, xii, 34, 35, 36, 40–41, 128, 129, 142
gaming, xii
Gates, Bill, 74
Gayle, Crystal, 74
generator locking (genlock), 161
genres, 48, 84
Germany, 21–22, 117
Gershwin, George, 126n, 127, 150
Gerwig, Greta, 105
Glass Menagerie, The (Williams), 30
glass plates, xii
Gleason, Jackie, 28
glossary, 159–64
Godfather, The, 8–9, 36–37, 38, 70, 84
Godfather Part II, The, 70
Goethe, Johann Wolfgang von, 72, 108, 109, 113
Golden Age of Cinema, 61–62
Golden Age of Television, 2–3, 23–25, 27–28, 75, 93
Graham, Bill, 26–27
grammar, film, 9–12, 87–91
Grand Central Station, 23
graphic projections, 59
Grease Live!, 49, 111
Great Britain, 22
Greek theater, 83, 136
green screens, 46, 54, 55, 61, 85, 98, 132, 159–60
Gregory, Lady Augusta, 55–57
grid patterns, 85, 162
Griffith, D. W., 61
Gust, Anne, 66
Hackman, Gene, 39
hair styling, 94, 132, 134
Hamlet (Shakespeare), 55
ham radio, 95–97
handheld cameras, 54, 84–85, 161, 163
hand offs, 85
hand props, 35, 41
Handycam cameras, 108
Hanseatic League, 117
Harrelson, Woody, 29
Harvard University, 31
hats, 41
helical scan recorders, 25, 161
helicopters, 64, 73
hierarchical situations, 40
high-frequency signals, 161
Hitchcock, Alfred, 11, 21–22
Hollywood, 22, 25, 61–62, 69, 73, 74, 142, 143
Hollywood General Studios, 73
home theaters, 112
Honeymooners, The, 28
Horn & Hardart, 2
House of Wax, 109
Howdy Doody, 2
Hudson River Valley, 79
Hughie (O’Neill), 31
I Am Cuba, 85
Ibiza, 14–15
I Love Lucy, 25
improvisation, 34, 36–40, 41, 95, 128, 129
Independent Frame, 12, 133, 134
Industrial Revolution, 27
Inglenook (winery), 122
input/output routing, 46
Insdorf, Annette, 154
inserts, 140, 151
intercoms, 65–68, 92, 134, 136, 137, 138
intercutting, 95, 99
Internet, xii, 157, 161
Internet Protocol (IP), 161
Intolerance, 61
Inuit people, 49–50
iPads, 133
“IP Director” program, 99
Ishioka, Eiko, 78–79, 80
Italian language, 6, 99
Japan, 8, 107, 116
J. Arthur Rank studios, 12
Jesus Christ, 116
Jobs, Steve, 74
Jonze, Spike, 104
journalism, 7
Keaton, Buster, 33
Kerensky, Alexander, 91
Kinescope, 21, 161
Kinetograph, 20
King and I, The, 24
King of Comedy, The, 28
KMPX, 71
Kodak film, xi–xii
Kovacs, Ernie, 28
Kramer vs. Kramer, 70
Ku Klux Klan, 31
Kurosawa, Akira, 110, 113
Ladies Man, The, 75–76
lamps, 13, 52, 133, 162
Land, Edwin, 108–10
Lang, Fritz, 21
lasers, 109
Lasseter, John, 155
Las Vegas, 72–76, 141, 142, 152
Late Late Show, The, 53
lateness, 35–36
Laughton, Charles, 33
Laurie, Piper, 24–25
Lawrence of Arabia, 48–49, 69–70
Leachman, Cloris, 2
LED lights, 52, 54, 55, 98, 156
Leica viewfinders, 129
Lenin, Vladimir, 89, 89
lenses:
adapters for, 44
Bolex 16mm, 44
C-mounts for, 44
film, 12–13, 44, 108, 112
flat, 13, 44, 52, 156
focal lengths of, 162, 164
lighting and, 12–13
in television, 48
zoom (telephoto), 12–13, 14, 48, 52, 93, 162, 164
Lewis, Jerry, 75–76
LG Electronics, 55, 190
lighting:
Appia effect in, 55, 59, 159
arc, 111
brightness of, 76, 160
cinematic, 13, 52, 58–59, 76, 160
cues for, 92, 132
elements for, 58–59
floor, 13, 133
grids for, 12–13, 48, 52, 53, 101, 132, 133
LED battery-powered, 52, 54, 55, 98, 156
lenses and, 12–13
mood and, 52
opticals in, 144
placement of, 86, 130, 132, 161
practicals (set lamps) in, 52, 162
projections of, 55, 58–59
shadows and, 55, 159
snoots (attachments) for, 52, 163
theater, 55, 59, 81–82, 159
ultraviolet (UV), 101
uniform, 12–13
limited editions, 157
line rehearsals, 134
literature, 7–8, 9, 23–24, 113, 115–16
Little Fox Theater, 71
Live Cinema:
acting in, xiii, 5–6, 7, 16, 29, 33–42, 50–51, 86, 92, 93, 95–101, 104, 105, 125, 126, 129, 134–35, 136, 137, 139, 140, 144, 146, 150, 151, 152, 154, 160
animals in, 94, 95, 99
audiences for, 7, 16, 30
author’s development of, xii–xiii, 1–3, 15–17, 27, 34, 76, 77, 84, 115–18, 121–57
behind-the-scenes preparations for, 16–17
black cards for, 16–17
broadcasts of, 49, 103–5, 152
budgets for, 103
cameras in, 14, 15, 17, 43–44, 92–97, 110–11, 135
children in, 94, 95, 99
cinema compared with, 48, 85–86, 99, 103, 105, 111–12, 118
commercials in, 132, 146, 149, 151
as creative medium, xii–xiii, 113–14
credits for, xiii, 165–90
crew for, 17, 93, 95–97, 99, 119, 135, 160, 163
dialogue in, 95, 141
direction in, 15–17, 24, 46, 92–93, 104–5
editing in, 46–47, 99, 104, 132
emotional impact of, 9, 10, 50, 88–91
equipment for, xiii, 43–47, 106–14, 133
experimental proof-of-concept workshops for, see Oklahoma City Community College (OCCC) workshop; UCLA School of Theater, Film and Television workshop
extras in, 6,
94, 95, 99
games for, xii, 34, 35, 36, 40–41, 128, 129, 142
language of, 9–12
as live performance, xiii, 6, 11, 12, 15–17, 24, 28, 45–47, 50, 75, 76, 95–99, 103–5, 118, 130, 132–33, 138–39, 140, 141, 156–57, 160
locations in, 48–62
makeup in, 94, 132, 143, 160
miscues in, 16
mixing in, 44–47, 98, 99, 136–37, 138, 139, 161, 162
obstacles in, 16, 101–5
performance standards in, 16–17, 29–32, 125, 132–34, 138–39, 140
pre-cut sequences in, 12, 15, 49, 60, 62, 87, 99
preparation and production for, 33–42, 85–87, 118, 154
pre-recording for, 16, 87, 94, 95, 99, 132, 135–36, 138
props for, 6, 10, 11–12, 16, 34–35, 41, 129, 130, 134, 135, 137
recording of, 49, 103–5, 118
rehearsals in, 33–42, 50–51, 92–97, 99, 129, 132, 133, 134–35, 163
scenery in, 48–62, 135, 137
scenes in, 34–35, 45, 93–95, 102, 130
screenplays (scripts) in, 3, 5–6, 35, 36, 42, 46–47, 59, 98, 115, 117–18, 127–28, 136
sets (scenery) for, 6, 10–11, 14, 15, 17, 46, 48, 51, 55–59, 56, 62, 86–87, 98, 128, 129, 139, 155
shots used in, 10, 11, 14, 50–53, 60–62, 87–91, 133
sound in, 47, 50, 126, 134, 136–37, 148, 154
soundtracks in, 47, 70–76, 130, 132, 137, 138, 144, 145, 146, 147, 148
staging of, 34–35, 42, 60–62, 131, 145, 155
storyboards in, 11, 12, 46, 49, 163
storytelling in, 10, 11, 21
stunts in, 6, 95–97, 99
style of, 85–86, 132
supplementary sequences in, 87
takes in, 85–86
technical specifications for, 43–47, 133, 134, 135
television compared with, xii–xiii, 3, 10–11, 24, 28, 85–86, 118, 156
theater compared with, 34, 42, 76, 80, 86, 118, 139, 156
theatrical exhibitions of, 29, 111–12, 138, 156–57
three-act structure of, 41, 92
time manipulation in, 17, 49, 132, 139
time shifting for, 49
wardrobe in, 35, 41, 94, 132, 134, 137, 160
locations, 48–62
loop harnesses, 137
loops, sound, 137, 141, 148
Lorentz, Pare, 64
Los Angeles, 107, 121, 154
Lost in London, 29, 86, 111
love stories, 71
Lubitsch, Ernst, 21
Lucas, George, 69–70, 74, 156–57
Lumet, Sidney, 2, 24
Lumière, Auguste and Louis, 20
lunch breaks, 94, 128, 129
Lupino, Ida, 33
Macgowan, Kenneth, 32
MacGraw, Ali, 27
Mad Men, 28
magnetic tape recorders, 1, 161
Mahler, Gustav, 29–30
makeup, 94, 132, 143, 160
Malaimare, Mihai, Jr., 60
Manhattan, 28
manic depression, 155
Mann, Thomas, 116–17
marks, 99–101
married couples, 36
Marsyas, 136
Marty, 2, 24
Mason, James, 8
masterpieces, 112–14
master shots, 14–15, 53, 60, 150, 161
matrix boards, 161
McQueen, Steve, 70
meditation, 155
melodrama, 31
“memorable moments,” 7
MGM, 73
microphones, 21, 136–37, 138
Microsoft, 74
Miller, JP, 24
minimalism, 85
miscues, 16
Mishima, 78–79
Mishima, Yukio, 78–79, 115–16
mixdowns, 162
mixing boards, 44–47, 98, 99, 136–37, 138, 139, 161, 162
modular sets, 54, 55–59, 56, 86–87, 98
molded sets, 86
montage, 7, 9, 21, 87–91, 162
mood, 52
Moscow Art Theatre, 55
motion-control systems, 54, 162
Motorola television sets, 1
mounted cards, 93
“movie-movie” style, 84
multiviewers, 14, 45, 95, 102, 162
Murch, Walter, 70n
Murnau, F. W., 21, 110
music:
classical, 1, 29–31, 68, 113, 114, 148
cues for, 92
instruments in, 114
live, 99
recording of, 137
“musical narrators,” 74
musicals, 12, 26, 49, 70–76, 111
music-drama concept, 113
mute shows, 83
Muybridge, Eadweard, 20
My Life in Art (Stanislavski), 55
NAB Show, 106
Nanook of the North, 49–50
Napoleon I, Emperor of France, 91
narration, 74, 113
National Aeronautics and Space Administration (NASA), 66
National Association of Broadcasters (NAB), 106
National Football League (NFL), 53
naturalism, 85, 86
Nature, 18–19
Navajo carpets, 104
Nazism, 22
NBC, 1, 20, 47, 148
NBC Symphony Orchestra, 1
Neapolitan dialect, 99
Netflix, 84
networks, television, 2, 21, 25
news programs, 26, 28, 85
NewTek TriCaster, 43–44, 136, 137, 139
Newton, Isaac, 108
New York, N.Y., 1, 23, 24, 30–31, 154, 155
NHK, 107
nickelodeons, 21, 22
1950s, 116
Nobel Prize in Literature, 83
Nolan, Christopher, 107
nonlinear editing, 45, 162
novels, 7
obstacles, 16, 101–5
Obstfelder, Jürgen, 46
October (Ten Days That Shook the World), 88–91, 89, 90
Oklahoma City Community College (OCCC) workshop, xiii, 3, 5–17, 33–44, 50, 51–53, 69, 98, 99, 103, 115, 118, 121–57, 165–73
Olivier, Laurence, 33
One from the Heart, 51, 66, 69–77, 77, 78, 111
O’Neill, Eugene, 31–32, 82–84, 117
O’Neill, James, 82–84, 82, 83
one-shot films, 29, 85
On Golden Pond, 10, 87
On the Art of the Theatre (Craig), 32
opera, 29, 30–31, 68, 113
operators, camera, 65–66, 101, 129, 138
Ophuls, Max, 7, 8
opticals, 144
orchestra, 114
Outsiders, The, 68
over-shoulder shots, 133
oversized props, 11–12
Ozu, Yasujiro, 7, 8, 110
Pabst, G. W., 21
Pacific Dome Theater, 69–70
Pacino, Al, 38
“package, the,” 49
painted sets, 81–82
painting, 15
Palance, Jack, 2
panning, 111, 156
paparazzi, 116
paragraphs, 7
parallel editing, 21
Paramount Studios, 75
parody, 28
patents, 19, 22, 56, 58
Patsy’s restaurant, 38
Patterns, 24
Patton, 70
Pelléas et Mélisande (Debussy), 30
Penn, Arthur, 2, 24
performance standards, 16–17, 29–32, 125, 132–34, 138–39, 140
Persian carpets, 104
perspective, 15
Peter Pan Live!, 156
Philco Television Playhouse, 2
phones, 112
photochemical film, xi–xii, 107–8, 109
photography, xii, 108–10
“Pick Up My Hat” theater game, 41
picture libraries, 61
Pinewood Studios, 12
Pixar, 51
pixel count, 160
Pla
ce in the Sun, A, 114
playback (PB), 141, 143, 145
Playhouse 90, 2, 25, 93, 107
Play-Making (Archer), 32
plays, xiii, 2–3, 9, 10, 23–25, 26, 48, 113
playwrights, 23–24
Plow That Broke the Plains, The, 64, 66
Polaroid, 108–10
Polaroid glasses, 109
Polaroid SK70 camera, 109
Polavision instant movie system, 108–10
political speeches, 62–68
post-production, 159–60
power cables, 52, 99, 124
practicals (set lamps), 52, 162
pre-designed shots, 12, 15, 49, 60, 62, 87, 99
presidential election campaign (1980), 63–68
press conferences, 142
Presto home acetate recorder, 1
pre-visualization, 51, 133, 134, 155, 162
printed sets, 86
prisons, 53
production designers, 76, 80
production period, 33–42, 85–87, 118, 154
productions:
for cinema, 5, 12, 21, 33, 76, 159–60, 163
for Live Cinema, 33–42, 85–87, 118, 154
post-, 159–60
for television, 106–7
for theater, 34, 42, 76, 80
projections, light, 55, 58–59
projectors, 2, 74, 102, 109–12
pronunciation, 35
“proof of concept,” 133
proof-of-concept workshops, see Oklahoma City Community College (OCCC) workshop; UCLA School of Theater, Film and Television workshop
props, 6, 10, 11–12, 16, 34–35, 41, 129, 130, 134, 135, 137
proscenium stages, 83
prose, 7
public domain material, 23
puppets, 2
radio, 1, 20
“Radio Row,” 1
Raging Bull, 28
Rawnsley, David, 12, 133
Ray, Nicholas, 110
RCA, 19, 20, 22
read-throughs, 34, 35, 129
realism, 81–86
rear projection, 162
recording:
audio, 1, 2, 21
pre-, 16, 87, 94, 95, 99, 132, 135–36, 138
video, xii, 2, 6, 21, 22, 25, 26, 75–76, 106–7, 161
RED, 107
Red Desert, 113
reels, film, 22, 75, 102, 110, 111–12
rehearsals, 29, 33–42, 50–51, 55, 92–99, 129, 132–39, 141, 160, 163
repertory theater, 5–6
replay signals, 46
reportage footage, 49–50
Requiem for a Heavyweight, 2, 24
reverse angle shots, 14, 60, 99
reviews, 33–34, 69–70, 77, 79–80
rhythmic measure, 47
Rich, Frank, 69
“Ride of the Valkyries” (Wagner), 68
Rimini, Italy, 144
“Rip Van Winkle,” 78–80, 79
Robe, The, 61
Robertson, Cliff, 24–25
rock music, 31
role-playing games, xii, 34, 35, 36, 40–41, 128, 129, 142
Rosing, Boris, 19, 22
rostrums, 12
Rozic, Teri, 46, 101–2, 124, 137, 138, 142
run-throughs, 34, 36–40, 93, 133, 134–35, 138–39, 141, 163
Russian Ark, 29
Sabu, 73
salaries, 61
Samson and Delilah, 148
Live Cinema and Its Techniques Page 16