The Snowman: Walking in the Air

Posted on December 18, 2011 at 3:58 pm

If you are feeling frazzled with holiday preparations, take a moment to enjoy the pure magic of this excerpt from one of the finest animated films ever made:

http://www.youtube.com/watch?v=ubeVUnGQOIk&feature=related
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The Real Story: We Bought a Zoo

The Real Story: We Bought a Zoo

Posted on December 18, 2011 at 3:33 pm

The new Cameron Crowe movie starring Matt Damon and Scarlett Johansson is based on a true story about a real family that bought a real zoo. Damon’s character is based on author Benjamin Mee (shown here with Damon), who wrote We Bought a Zoo: The Amazing True Story of a Young Family, a Broken Down Zoo, and the 200 Wild Animals that Changed Their Lives Forever.

The real-life story is a little different from the one in the movie.  Both Damon’s character and the real-life Mee are widowers with young children.  But the real Mee bought the zoo with his mother, brother, and sister before his wife died.  The movie zoo is in the US.  The Dartmoor Zoological Park is located in southwest England.  Its 33 acres of woodland include tigers, lions, jaguar, lynx and cheetah, bears, wolves, tapir, capybara, racoons, meerkats, monkeys, deer, owls, ostrich, lechwe, bugs, reptiles and much, much more.  Mee’s charming description of his family’s decision to buy the zoo and their early days is on their website.  But it doesn’t say anything about a zookeeper on staff who looks like Scarlett Johansson.

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The Island of Misfit Toys

The Island of Misfit Toys

Posted on December 16, 2011 at 3:49 pm

A classic moment from one of the best-loved holiday treats, Rudolph the Red Nosed Reindeer.  Cheers to all of the misfit toys out there!

http://www.youtube.com/watch?v=5SH1j1luFOw

The very touching story behind the Rudolph song and its creator, Bob May, was told by his friend, my beloved late uncle, Stanley A. Frankel, in a magazine story more than sixty ago.

Rudolph that Amazing Reindeer

by Stanley Frankel

His lovable antics have delighted millions of children; here is the inspiring story of how he was born when a father tried to comfort an unhappy little girl.

On a december night in Chicago ten years ago, a little girl climbed onto her father’s lap and asked a question. It was a simple question, asked in childish curiosity, yet it had a heart-rending effect on Robert May.

‘‘ Daddy, ’’ four-year-old Barbara May asked, ‘‘ why isn’t my Mommy just like everybody else’s mommy? ’’

Bob May stole a glance across his shabby two-room apartment. On a couch lay his young wife, Evelyn, racked with cancer. For two years she had been bedridden; for two years, all Bob’s small income and smaller savings had gone to pay for treatments and medicines.

The terrible ordeal already had shattered two adult lives. Now, May suddenly realized, the happiness of his growing daughter was also in jeopardy. As he ran his fingers through Barbara’s hair, he groped for some satisfactory answer to her question.

For Bob May knew only too well what it meant to be ‘‘different. ’’ As a child he had been weak and delicate. With the innocent cruelty of children, his playmates had continually goaded the stunted, skinny lad to tears. Later at Dartmouth, from which he was graduated in 1926, Bob May was so small that he was always being mistaken for someone’s ‘‘little brother.’’

Nor was his adult life much happier. Unlike many of his classmates who floated from college into plush jobs, Bob became a lowly copy writer for a New York department store. Later, in 1935, he went to work writing copy for Montgomery Ward, the big Chicago mail-order house. Now, at 33, May was deep in debt, depressed and miserable.

Although Bob didn’t know it at the time, the answer he gave the tousle-haired child on his lap was to catapult him to fame and fortune. It was also to bring joy to countless thousands of children like his own Barbara. On that December night in the shabby Chicago apartment, May cradled the little girl’s head against his shoulder and began to tell a story …

Once upon a time there was a reindeer named Rudolph — the only reindeer in the whole world that had a big red nose. Naturally, people called him ‘‘ Rudolph the Red- Nosed Reindeer. ’’ As Bob went on to tell about Rudolph, he tried desperately to communicate to Barbara the knowledge that, even though some creatures of God are strange and different, they often enjoy the miraculous power to make others happy.

Rudolph, Bob explained, was terribly embarrassed by his unique nose. Other reindeer laughed at him; his mother and father and sisters and brothers were mortified too. Even Rudolph wallowed in self- pity.

‘‘Why was I born with such a terrible nose?’’ he cried.

Well, continued Bob, one Christmas Eve, Santa Claus got his team of four husky reindeer– Dasher, Dancer, Prancer and Vixen– ready for their yearly round- the- world trip. The entire reindeer community assembled to cheer these great heroes on their way. But a terrible fog engulfed the earth that evening, and Santa knew that the mist was so thick he wouldn’t be able to find any chimneys.

Suddenly Rudolph appeared– his red nose glowing brighter than ever– and Santa sensed at once that here was the answer to his perplexing problem. He led Rudolph to the front of the sleigh, fastened the harness and climbed in. They were off! Rudolph guided Santa safely to every chimney that night. Rain and fog– snow and sleet– nothing bothered Rudolph, for his bright nose penetrated the mist like a beacon.

And so it was that Rudolph became the most famous and beloved of all reindeer. The huge red nose he once hid in shame was now the envy of every buck and doe in the reindeer world. Santa Claus told everyone that Rudolph had saved the day– and from that Christmas Eve onward, Rudolph has been living serenely and happily

… Little Barbara laughed with glee when her father finished. Every night she begged him to repeat the tale– until finally Bob could rattle it off in his sleep. Then, as Christmas neared, he decided to make the story into a poem like ‘‘ The Night Before Christmas’’– and prepare it in booklet form, illustrated with crude pictures, for Barbara’s personal gift.

Night after night, Bob worked on the verses after Barbara had gone to bed, polishing each phrase and sentence. He was determined his daughter should have a worthwhile gift, even though he could not afford to buy one.

Then, as May was about to put the finishing touches on ‘‘ Rudolph, ’’ tragedy struck. Evelyn May died. Bob, his hopes crushed, turned to Barbara as his chief comfort. Yet despite his grief, he sat at his desk in the quiet, now-lonely apartment, and worked on ‘‘ Rudolph’’ with tears in his eyes.

Shortly after Barbara had cried with joy over his handmade gift on Christmas morning, Bob was asked to an employees’ holiday party at Montgomery Ward’s. He didn’t want to go, but his office associates insisted. When Bob finally agreed, he took with him the poem — and read it to the crowd. At first the noisy throng listened in laughing gaiety. Then they became silent — and at the end, broke into spontaneous applause.

Several Ward executives asked Bob for copies. Then someone suggested: why not put the poem into booklet form as a free gift of Ward customers the following Christmas? Next year, 1939 — a year in which Bob labored to pay his debts and keep Barbara fed and clothed — 2,400,000 copies of the book were printed and given free to youngsters whose parents were customers at the hundreds of Montgomery-Ward stores all over the country.

The story of the reindeer caught on immediately. Psychologists, teachers and parents hailed Rudolph as a perfect gift for children. Newspapers and magazines printed stories about the new hero. Ward’s stores and catalogue offices, placing orders for the following Christmas, asked for 3,000,000 copies.

Meanwhile, May won acclaim — but little else. Montgomery Ward owned the copyright. Yet May was happy in the knowledge that his child — and millions of other children — loved his red-nosed reindeer.

Then the war came, and the giveaway project was shelved. Throughout the war years, however, requests poured in for Rudolph books, toys, games, puzzles, records– all nonexistent. And the demand mounted each Christmas season as parents got out the old Rudolph book and read it to growing families of new Rudolph enthusiasts.

Meanwhile, Rudolph’s success did things to Bob May. He forgot his pessimism, began to laugh again and associate with friends. And among those friends was a pretty brunette, a secretary at Montgomery Ward’s. In 1941, Bob married Virginia Newton. Together they created three new Rudolph fans — Joanna, Christopher and Ginger.

Finally the war was over — and Ward executives planned a new Rudolph book for Christmas, 1946. More than that, a message came from Sewell Avery, president of Ward’s. Touched by the beauty and simplicity of the Rudolph story, he ordered the copyright turned over to Bob — so that May could receive all royalties.

In 1946, 3,600,000 Rudolph booklets had been distributed by Ward’s. Promptly a deluge of demands for Rudolph products swamped Ward’s and Bob May. Businessmen wired, telephoned and called, seeking permission to manufacture toys, puzzles, slippers, skirts, jewelry and lamps.

A special recording of the poem was made by Victor. Maxton Publishers, Inc., bought the rights to produce a bookstore edition in 1947. Parker Brothers brought out a Rudolph game. Even Ringling Brothers-Barnum and Bailey circus proudly exhibited a pony, equipped with antlers and an electrically lighted red nose, called ‘‘Rudolph the Reindeer.’’

Christmas of 1947 was the brightest ever for Bob May, his family and Rudolph. Some 6,000,000 copies of the booklet had been given away or sold — making Rudolph one of the most widely distributed books in the world. The demand for Rudolph-sponsored products increased so much in variety and number that educators and historians predicted Rudolph would come to occupy a permanent niche in the Christmas legend.

Sellouts all over the country inspired merchants to make even more elaborate plans for Christmas, 1948. A special feature is the cartoon in Technicolor directed by Max Fleischer and narrated by Paul Wing which is being run this Christmas season in thousands of film houses. Manufacturers are already blueprinting Rudolph merchandise for 1949-1950-1951– with each item sold returning a royalty to Bob May.

His fortune has now been made, and the years ahead look even brighter. Today, Bob is still a shy, thin, affable man who wants more than anything else to build security for himself and his family. He still works at Ward’s– now as retail copy chief– and tackles the job with the same perseverance which has characterized his whole life.

Through his years of unhappiness, the tragedy of his first wife’s death and his ultimate success with Rudolph, Bob May has captured a sense of serenity. And as each Christmas rolls around, he recalls with thankfulness the night when his daughter Barbara’s question inspired him to write the poem that closes on these lines: But Rudolph was bashful, despite being a hero!

And tired! (His sleep on the trip totaled zero.)

So that’s why his speech was quite short, and not bright — ‘‘ Merry Christmas to all, and to all a good night! ’’

 

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Interview: Composer Alexandre Desplat

Posted on December 16, 2011 at 8:00 am

One of the most versatile and distinguished composers working in film is Alexandre Desplat, who composed the evocative music for “The Queen,” the two Harry Potter “Deathly Hallows” films, “Twilight: New Moon,” “The King’s Speech,” this week’s release, “Carnage,” and three of this year’s biggest films, “The Ides of March,” “Extremely Long and Incredibly Close,” and “The Tree of Life.” He generously took time to answer my questions:

Tom Hooper told me it was your idea to use the Beethoven for the climactic scene in “The King’s Speech.”  Can you tell me what made that music right for that scene?

It was my idea not to replace it! The editing was so perfectly shaped to the 7th Symphony and the dramaturgic build was so strong that I would never have improved it with my music. Always stay humble, especially in front of the Masters!

What is the first thing you look for when you read through a script to help you formulate your ideas about the score?

When I read a script, it is necessary that the story speaks to me on some level. If I feel this, then I know that it is a project that I am capable of writing for. But I am most inspired by the images, when the words come to life.

http://www.youtube.com/watch?v=9ElrspWJTKY

You have worked on the biggest and most epic and special-effects-filled studio films and on smaller, more intimate, independent films.  Beyond the budgetary issues, what are the other differences in the way you approach the scores?

In fact, I approach them all in the same way. Granted, the music can be quite different, but my approach does not vary greatly between movies and I think there is continuity in my work. I take great pleasure in working on a variety of projects as it keeps me fresh. You will notice that I never write for the same type of film twice in a row.

What is the best way to introduce the audience to the world of the movie with the music?  Or what is a good example?

I think a newcomer cannot go wrong by listening to the greats of the film music world – John Williams, Jerry Goldsmith, Nina Rota, Georges Delerue, Maurice Jarre and Bernard Hermann. But also any type of scores, not only symphonic: Miles Davis’s score to “Ascenseur pour l’echafaud”, Angelo Badalamenti’s Straight life…

http://www.youtube.com/watch?v=8in96kB48eE

How do you make sure that the music enhances the story without distracting from it?

There is a fine line in judging which emotional direction to go in and also how far to go. I rely on my instincts and search to add to the scene, rather than simply mimicking what is already there. I always seek for this mysterious “vibration” between the images and the music.

What score from another composer do you wish you had written?

Rota’s “Casanova,” Takemitsu’s “Ran,” John Williams’s “Incidental Tourist,” Herrmann’s “Taxi driver”…the list is long!

Which director taught you the most about how movies work?

Oh, there are so many that I have learnt from! I always dreamed of working with the masters. Stephen Frears was one. To me it was incredible when he called me to work with him on “The Queen,” as it was with Ang Lee, Roman Polanski or Terrence Malik. They are incredibly talented artists and each pushes me in new directions. I have just finished working on Stephen Daldry’s “Extremely Loud & Incredibly Close” and Wes Anderson’s “Moonrise Kingdom.”

What was the biggest challenge in working on “Extremely Loud?”

The story is an emotional one – a young boy coping with the death of his father, which in itself is very challenging to express and reflect upon. Sorrow can be rather inspiring when writing music. The fact that this is based around the 9/11 attacks pushed everything up a level, so writing the score was a very intense process.

What’s your next project?

I’m currently working on a Florent Emilio Siri film called “Clo Clo” – a biopic about Claude Francois, the composer of the song “My Way”, brought to international fame by Sinatra. I would like to strike a balance between my American and European projects. I have written for a Spanish movie, I’ve never made German movies. I’d love to explore these tracks. I’d love to do Japanese movies, because I love Japanese cinema. I’m a very multicultural person and I’m excited just talking about it. I’m excited about making movies with foreign directors, could it be Greek or Italian. I would love that.

 

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