Showing posts with label Robert Osborne. Show all posts
Showing posts with label Robert Osborne. Show all posts

Tuesday, March 7, 2017

My memories of Robert Osborne (1932-2017)

Robert Osborne at the 2014 TCM Classic Film Festival

I don’t think there was a nicer guy on the planet than Robert Osborne. He was a true gentleman. The world lost someone truly special when the long time host of TCM passed away yesterday. He had been missing from the channel for quite a while and many of us suspected the worst. When the news hit yesterday that he was gone my heart broke. I knew it was coming and probably soon but nothing can really prepare you for the loss of someone who meant so much.

When I first started exploring the world of classic film, Robert Osborne became my teacher and guide. I watched his intros and outros with fervent curiousity and admiration. Thanks to his infectious enthusiasm for classic movies, it wasn’t long before I was hooked.. Osborne had a true love for movies, their history and the people who made them. He was inclusive, understanding, gentle and compassionate. I saw this firsthand when I attended the 2013 and 2014 TCM Classic Film Festivals. For as much as he loved movies, he loved us fans too. Robert Osborne was one-of-a-kind. We’ll never have anyone quite like him.

In honor of the great Robert Osborne I wanted to share some of my favorite memories from seeing him at two of the TCM festivals.

Note: All of the photos shared in the post are my own unless noted otherwise.

Robert Osborne at the 2013 TCMFF Press Conference

1. The first time I saw Robert Osborne -  The 2013 TCMFF press conference was just about to start and I couldn't believe that in a few moments I'd be seeing Robert Osborne, THE Robert Osborne, in person. It had been a dream of mine for years and it was finally happening. What would he be like? Would he be totally different from his on screen persona? Finally I spotted him. Tall, elegantly dressed. He looked ready for the camera. And his presence filled the room. I stared at him in awe. He was larger than life and had a way of making us feel like we belonged there with him. I hung on to his every word. I'd see him numerous times afterwards but I'll never forget that first glimpse.

Ann Blyth and Robert Osborne at the 2013 TCMFF

2. Robert Osborne's interview with actress Ann Blyth - I loved attending the TCMFF interviews held in the Hollywood Roosevelt hotel lobby. These were great moments to see the talent up close. My favorite of these was Osborne's interview with Ann Blyth. Two of my favorite people were only a few feet away from me I couldn't believe it.  Osborne had a way of making his interview subjects feel at ease. You can tell he had a real admiration for Blyth's talent and beauty. He later interviewed her at a screening of Mildred Pierce and that moment was special for me too.

Eva Marie Saint and Robert Osborne pose for pictures at 2013 TCMFF

3. Live from the TCM Classic Film Festival taping with Eva Marie Saint - Not realizing how far away from the main hub of the festival this taping was being held, we hoofed it and barely made it in. We got stuck with nosebleed seats and I was nursing some bad blisters. But I'd do it all over again for the opportunity to watch Robert Osborne interview his good friend Eva Marie Saint. Saint had a love for Osborne and it was evident in their conversation. She said first there was her husband and then there was Osborne. This interview is on the Conversations with Robert Osborne DVD.

TCMFF goers observe the interior of the Grauman's Chinese before it's remodel, circa 2013.

4. On the eve of the TCL/Grauman's Chinese Theatre remodel - The final screening of the 2013 TCMFF festival was held at the Grauman's Chinese Theatre (now the TCL Chinese). The movie was The General (1926) and Osborne was on hand introduced the final big film of the festival. This wasn't going to be any ordinary introduction. Robert Osborne informed the audience that we were attending the second to last event at the theatre before it would be remodeled for IMAX. The theatre was just as it had been since 1926 and he told us to take a moment to look around and take it all in. After the screening was over we all took Osborne's advice. For a few minutes we stood, looked every which way around us and took pictures. It was a bittersweet moment.

Robert Osborne at the 2014 TCMFF Press Conference

5. Robert Osborne's final TCMFF press conference - Robert Osborne held his final TCMFF press conference in 2014 and I was in attendance. I'm grateful for this conference in particular because we got to spend a lot of time listening to Osborne tell us some of his amazing stories. He spoke about how Jane Darwell and Lucille Ball helped him get his start, about his special friendship with Olivia de Havilland and their weekly phone calls and about his excitement for Maureen O'Hara attending that year's festival. Osborne also spoke at length about his favorite movies and how TCM has helped many people get through tough times. You can read my full transcript of Osborne's Q&A here. I feel privileged to have been part of a small group of people who got to hear him speak at this conference.

Robert Osborne and Kim Novak at the 2014 TCMFF

6. Robert Osborne's interview with Kim Novak - I attended a screening of Bell Book and Candle (1958) not expecting the emotionally charged interview that would kick off the event. This happened not too long after Novak's appearance at the Oscars. She had been nervous and took some medication to calm her down which had the ill effect of making her look flighty on stage. She suffered a lot of criticism for her awkwardness and her physical appearance. As Novak recounted the events of that night and its aftermath, Osborne held her hand. You could tell that Novak spoke from deep pain and Osborne was there to comfort her. This really moved me. I knew Novak was in good hands with Osborne by her side and with us as a supportive audience.

Robert Osborne with Maureen O'Hara at the 2014 TCMFF

7. Robert Osborne's interviews with Maureen O'Hara - I consider myself beyond lucky to have seen Robert Osborne interview Maureen O'Hara on two separate occasions. The screening of How Green Was My Valley (1941) was tops for me and some of us got in line a couple hours early to guarantee entrance and a good spot. O'Hara was quite old at that point and had some difficulty with the interview. Osborne was a true gentleman. He was patient and supportive of O'Hara and had this look of admiration that echoed what so many of us felt at that time. There was another interview with O'Hara, a surprise bonus for many of us, at the lobby of the Hollywood Roosevelt. I was at that one too. It hurts to realize that both of these wonderful people are now gone and only the memories remain.

Meeting Robert Osborne in 2014. Photo by Laura.

8. Conversations with Robert Osborne DVD signing - I had no clue that this would be both the only time I would speak with Robert Osborne but also the last time I would see him in person. If I had known that would be the case I would have spoken up more and told Osborne how I truly felt. Earlier in the festival I learned of an opportunity to meet Osborne. Attendees who purchased Conversations with Robert Osborne DVD at the gift shop could attend a special signing on the final day I went with my friend Laura of Laura's Miscellaneous Musings. We were almost last in line and it took quite a while to get to the front. What took so long was Osborne taking the time to chat with attendees and pose for photos. We were told specifically that Osborne had a screening to get to so we could not keep him long and posing for photos was strictly prohibited. Laura and I came up with a plan. While she was getting her DVD signed I'd secretly take photos of them together and she would do the same for me. When I finally got to meet Robert Osborne I was so nervous. Even though his staff was in a rush to get him out of there, Osborne made it seem like he had all the time in the world for me. He asked me if I was enjoying the festival. I couldn't believe he was talking to me. I had spent years watching him on TV telling me everything I wanted to know about the movies I loved. Now here he was right in front of me. It was surreal moment.

And I got to take home a keepsake to treasure forever.

For Raquel. From Robert Osborne.

Thank you Mr. Osborne for the memories. You will be missed.

God speed Robert Osborne (1932-2017)

Wednesday, April 30, 2014

How Green Was My Valley (1941) screening and Maureen O'Hara at the 2014 TCM Classic Film Festival

The screening of How Green Was My Valley (1941) at the TCM Classic Film Festival was such a spectacular event.  It was worth waiting in line for almost two hours to make sure that I not only got in but that I got a good seat as well. I waited in line with K.C. of A Classic Movie Blog, Jessica of Comet Over Hollywood and Dan of Celebrity Cafe. We had a blast chatting that the 2 hours flew by. I got sick during the festival and was at my worst point right before the screening. However, there was absolutely nothing that was going to get in my way. I was going to see Maureen O'Hara!

Once we settled into our seats at the historic El Capitan theatre, we were treated to some music before the event commenced. Robert Osborne came out onto the stage to introduce the film and Maureen O'Hara. How Green Was My Valley won Academy Awards for Best Picture, Best Supporting Actor (Donald Crisp), Best Director (John Ford), Best Cinematography and Best Art Direction. Some people harbor resentment towards this film because they feel that Citizen Kane (1941) deserved to win the Oscar that year. Osborne reminded us that Citizen Kane wasn't as well understood or appreciated as it is today and How Green Was My Valley was a great film in its own right.

Then it was the moment we were all waiting for! Maureen O'Hara, escorted by her grandson Conor Beau, made her grand entrance.

There was a roar of applause and O'Hara received a standing ovation. She seemed overcome with emotion and was seen wiping away tears. O'Hara motioned to us to sit down which I thought was very sweet. She seemed to be very humble but also very sassy too.

The audience listened with rapt attention. O'Hara was a bit hindered by her advanced age and at one point got very religious and philosophical. It might have been awkward if she wasn't the MAUREEN O'HARA! I'm sure I speak for all of us in attendance that it was such a blessing to have her there. O'Hara could have just wielded insults at us for an hour and we'd all be grateful for every word. And believe you me, we hung on to every word she said.

I loved the moment when O'Hara told the audience not to think that she does magical things. Osborne replied that she does do magical things on the screen. With the help of directors who are magicians themselves, actors and actress do incredible, magical things on screen that make us feel a gamut of emotions. We are all captivated by the magic of the movies.

Before the film started we were treated to a video tribute to Maureen O'Hara's career. I believe this came before the interview. It was a wonderful tribute and I really wish the video lived somewhere online so I could share it. It was so well done and I also really loved the one shown in tribute of Charlton Heston at another event. Whoever writes the copy for those tributes is absolutely brilliant.

I had never seen How Green Was My Valley (1941) so this screening was a very special way to be introduced to a film. Of all the movies screened at the festival, I think this one fit the theme Family in the Movies: The Ties That Bind the best. I was already very emotional from seeing Maureen O'Hara in person that the film's ending just destroyed my already fragile emotional state. Theaters should extend the courtesy to patrons by leaving the lights off a little longer when a film has a particularly sad ending. That way we'd all have a few moments to wipe away our tears and compose ourselves.

Press Photo

It wasn't enough for me to see Maureen O'Hara once at the TCM Classic Film Festival. When Robert Osborne announced that he would be interviewing O'Hara at ClubTCM the following day it became imperative that I go to that too. Several folks camped out in front of the screening area in the Hollywood Roosevelt Hotel early so they could get up close to Maureen O'Hara. I was too sick to do that so I had to wait until around the time it started. I didn't get the best view but it was still glorious to catch little glimpses of O'Hara and to listen to a more in-depth interview with her. The interview will be airing on TCM some time in the future so watch for it!

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At the end of the interview, Osborne and O'Hara posed for pictures. She also took a few questions from the audience. Her grandson Conor Beau was escorting her out when he was stopped by O'Hara so she could say one last thing to the audience. She recited a rhyme and was then whisked away. I think the rhyme was "Love is like a lizard; it winds itself around your heart and penetrates your gizzard."

I thought it was really interesting that Maureen O'Hara was not scheduled to appear at the screening of The Quiet Man (1952). O'Hara has said in the past that it's her favorite of her films. Perhaps she was added too late to the festival's roster that their original plans for that screening could not be changed.

Seeing O'Hara and watching How Green Was My Valley on the big screen are experiences I'll never forget and I'm infinitely grateful to TCM for making this all happen at the festival.

Here's a little video I shot of Maureen O'Hara's exit from the How Green Was My Valley screening. Enjoy!

Monday, April 28, 2014

Robert Osborne interviews Kim Novak at the 2014 TCM Classic Film Festival

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A screening of Bell, Book and Candle (1958) was held at the historic Grauman’s Egyptian theatre as part of the 2014 TCM Classic Film Festival. This was a real treat because actress Kim Novak was in attendance. When the event started, Robert Osborne introduced Novak by plugging her art website as well as praising her for being “a terrific lady” and for giving him one of the best interviews he’s ever done as part of the 2012 Live from the TCM Festival. He explained that Novak doesn’t like to do interviews but was so open and honest in the hour-long interview they did in 2012 and he admires her for that.
Novak came out and was applauded by a packed house. When she settled down I could tell that she was trying to veer the conversation into a particular direction. She started by saying that it was really important for an actor to be open and that it wasn’t easy to come back to the festival. Novak wanted to address the “elephant in the room” which was her recent appearance at the Academy Awards. There was a backlash and a flurry of negative reactions online and on TV. Novak had been really looking forward to attending the Oscars because it had been a while she she had attended. It had also been a while since her last public appearance which was at the TCM festival in 2012. It wasn’t easy for Novak to go back to the Academy. She still harbors some negative feelings. Novak never won an Academy Award and she felt it was partly her fault because she left Hollywood so early in her career.

Novak was very open about being bipolar and being aware of what was said about her. After she left the Oscars, she read many of the negative comments and it sent her into a deep sadness. However, Novak came to the realization that she was being bullied and that no one should have to take that sort of abuse. Novak was also hurt by the bullying of Liza Minnelli who was also in attendance at the Oscars. (There was some negativity shown towards Sidney Poitier too and all of this made me see red). Robert Osborne chimed in and revealed that this was the first year he didn’t watch the entire Academy Awards ceremony. He was so put off by Ellen DeGeneres’ joke about Liza Minnelli that he just stopped watching. He points out that they were cruel enough to have a camera ready to capture Minnelli’s reaction when the joke was made.

In the below video, Novak discusses how she felt after attending the Oscars and why she seemed groggy during her appearance.

Novak received a lot of love from the audience that night. We cheered her on and I even got a bit teary eyed. I’ve always had a conflicted view of Kim Novak. I adore her as an actress but have not been happy about certain things she’s said or done in the past. But I was rooting for her that night. I don’t think she deserved the Oscar night bullying and I was proud of her for standing up for herself.

There was no discussion of Bell, Book and Candle besides Novak saying that it is one of her favorite films. I was a little disappointed by this but was happy that Novak got a platform along with a supportive audience to open up about what happened to her at the Oscars. I really hope this experience was cathartic for her.

Monday, April 21, 2014

TCM Classic Film Festival 2014 - Press Conference with Robert Osborne

"I didn't know being a nurse was going to be part of the job." Robert Osborne

Here are some highlights from the press conference with Robert Osborne at the 2014 TCM Classic Film Festival. Note that this is paraphrasing and not direct quotation.

On how TCM has affected his life - TCM has given him a great life. and it's given him a job he was born to do. The job didn't exist before and was created for him. What he didn't realize with this job and with TCM is that they would be a nurse to so many people. TCM is a "place" where people can be cheered up or be involved in something other than their own problems.

On TCM as family - Osborne reflected on being very close with the staff at TCM, many of whom he's worked with for 20 years. He's worked at other companies before where people don't get along. Osborne worked at a movie channel where there was a staff member who didn't even like movies. At TCM, everyone loves movies and is knowledgeable about them and that makes a big difference.

On movies - Movies are a necessity and they really add something to our lives.

On Lucille Ball and Maureen O'Hara - Maureen O'Hara was Lucille Ball's biggest competition. They were both red-heads and O'Hara was more traditionally beautiful but Lucille Ball had a lot to offer too. They were both under contract at RKO at the same time and when O'Hara showed up Ball thought of herself as "chopped liver".

On Lucille Ball being funny - Osborne shared with us that the real Lucille Ball wasn't a funny person. She didn't act funny and she didn't say funny things. Someone like Carole Burnett was naturally funny but Ball wasn't like that at all. But Lucille Ball could be funny on screen because she was that talented as an actress. Lucille Ball had a tough life. She was the main breadwinner for her family at a very young age. She went to New York to become a model at the tender age of 15. She was beautiful but up against many other beautiful young women. She couldn't tap dance like Eleanor Powell. She couldn't sing like Barbra Streisand. Her genius was that she was so talented at making people laugh.

On Lucille Ball and Desi Arnaz - They had a tough marriage because she was so successful and he wasn't quite at the same level. Osborne also jokes that Arnaz was Cuban and had a wandering eye. After Lucille and Desi separated permanently, they remained close friends. Osborne remembers when Lucille Ball was performing on stage, Arnaz threw an opening night party for her even though at that point they were divorced and married to other people. Ball visited Arnaz at the end of his life and was with him when he died.

On Jane Darwell - Osborne met Darwell in Seattle when he was doing a play. Darwell advised him to not go to New York to do theatre but to go to California instead. Osborne didn't know anyone in California and stayed with Darwell. She got him an agent and he got a contract with 20th Century Fox. Osborne got the opportunity to watch actors like Marlon Brando, Gary Cooper and Orson Welles perform. Darwell was instrumental in Osborne meeting Lucille Ball, who was a big influence in Osborne's life and career, especially since Ball was fascinated with Darwell and intrigued by Osborne's connection with her.

On character actors  - TCM loves character actors and the staff were talking recently about how to do more programming on the channel with them as the highlight. It's difficult to do a Star of the Month with a character actor because you need a few films in which they have a significant role in order for the month long highlight to work.

On his wardrobe - Robert Osborne confesses that he has no style or taste in fashion at all. His stylist Holly Hadesty is responsible for putting together all of his outfits. Hadesty is very young and has a great eye for colors and patterns. It's her full-time job to get all of his outfits ready, to label them by day and time of day and to ship them off to locations where Osborne will be making public appearances. His personal style is just okay and a lot of what he wears he bases off of what's been given to him which makes putting together outfits easy. His wardrobe is such a part of his job that it really requires someone's time and effort to make sure he looks good and that he represents the channel properly.

On TCM's audience of young people - Osborne says he doesn't know how TCM acquired their audience of young people and was surprised how many young folks attend the TCM Classic Film Festival and Cruise. At least 50% of people who attend the events are below the age of 30 (he said 25-30). It really pleases Osborne that young people respond to classic films and used Rita Hayworth and Gilda as an example. Osborne thought originally that TCM would be nostalgia for people who remembered the classic films.

On TCM's Festival and Cruise - Osborne is impressed that TCM sells out both the festival and cruise so quickly and they don't need to rely on the announcements of big names or big films in order to draw interest in either. Festival and cruise-goers trust TCM enough that they'll buy tickets without knowing the full schedule.

On Osborne's influence on the festival programming - Charles Tabesh handles the programming and Osborne says that he is wonderful about taking suggestions and being open to ideas. Osborne suggested The Great Gatsby (1949) which eventually became part of the 2014 festival schedule. There were some rights issues with that one but they made the screening happen. Osborne remembers it being a good movie but missing a good Daisy.

On Olivia de Havilland - TCM came very close to having Olivia de Havilland at the festival. They were going to do a Private Screenings with her as well as have her attend the festival for the 75th anniversary of Gone with the Wind. De Havilland is 97, turns 98 in July, is as sharp as a tack but has been having health issues that come with being at such an advanced age. She visited her daughter in Malibu a few years ago and the trip was such a strain on her body that it took her a year to recover. She lives in Paris so traveling across the Atlantic and then across the U.S. is very trying on the body. TCM did travel to Paris to do a Private Screenings. They were all set up and ready to go at the famous Hotel George V but it was cancelled when de Havilland contracted pneumonia and had to stay in the hospital to recover. Osborne and de Havilland have a very close relationship and have been friends for many years. De Havilland was very apologetic because she really wanted to do both the festival and the interview however it just didn't work out because of her health. They did discuss having her come to Atlanta but de Havilland refused because of some bad memories. There were definite plans this February to have her come to New York but she had a health flare up and those plans eventually fell through. It wasn't for lack of trying on both the part of de Havilland and TCM but it just didn't happen.

On how movies have changed - There is a distinct difference between films of the studio system era and films of today. Back then there were heroes and actors and actresses were presented as larger than life. Today we want reality and real people. Today's audiences don't want any artifice. Also, so many classic films end on a positive note. Osborne uses the Humphrey Bogart film High Sierra (1941) as an example. Even though the hero dies and we see that his faithful companion, his dog, mourns the loss of his owner, Ida Lupino's character proclaims that the hero is now free. Just the addition of that one scene and a few lines of dialogue changes the ending from negative to positive. The filmmakers didn't want you leaving the theatre depressed. They wanted you to come back next week for a new movie. Osborne then compares it with depressing contemporary films such as No Country for Old Men or 12 Years a Slave.

On his favorite films - His has three big favorites: A Place in the Sun (1951), he saw it in college and is still in awe of the film years later; The Razor's Edge (1946), which he's seen many times; and This is Spinal Tap (1984), which never ceases to lay him on the floor laughing. He also throws in Sunset Blvd.  (1950) as a top favorite. There are very few films he doesn't like. He can find something enjoyable about pretty much every film he watches. His job at TCM is to show you a movie, even if it's an okay movie and not a great movie, that you may not be familiar with but is worth seeing. If you know what was going on in an actors life or what was going on in the world at that time, you'll understand the context and that can make any movie interesting.

Thursday, June 6, 2013

Robert Osborne interviews Ann Blyth at a screening of Mildred Pierce (1945)

Ceiling of the Grauman's Egyptian Theatre

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I had the privilege of attending a special screening of Mildred Pierce (1945) at the Egyptian Theatre in Hollywood as part of the TCM Classic Film Festival. This event was #1 on my list of all the events and screenings I wanted to attend.

I will try to transcribe the interview that happened before the screening to the best of my ability. It's not word-for-word and some paraphrasing is used.

Robert Osborne introduced Ann Blyth and said she was one of the sweetest nicest people in the world. But we all know her as Veda, the evil daughter in Mildred Pierce (1945). He encouraged us all to hiss and boo at her now and get it over with. To which Ann Blyth responded "I don't care."

Robert Osborne: Osborne notes that Blyth was so wonderful as the evil Veda but she was never typecast because of that role. It's kind of a miracle given Hollywood tendency to typecast during that time period. After Mildred Pierce, Blyth went on to play very lovely ingenues, very nice ladies, etc. Osborne asked Blyth how she came to play Veda in Mildred Pierce.

Ann Blyth: Blyth had to test for the part and she learned much later that a lot of actresses tested for the same role. She says that she was the lucky one and mentions hitting it off with director Michael Curtiz. Joan Crawford did the test with Blyth which was very unusual for a star of Crawford's stature at that time. It made a huge difference in how Blyth started to think about the character having the actress who will be playing opposite her as her mother doing the test with her.

Osborne: We hear so many negative stories about Joan Crawford

Blyth: "I have nothing but wonderful memories of her." Blyth said it was a wonderful learning experience working with Joan Crawford. Crawford was kind to her all during the making of the movie and in private afterwards for many, many years.

Osborne: Blyth was an actress on Broadway and was in Watch on the Rhine as a very young girl.

Blyth: Blyth noted that that was what brought her to Los Angeles and Universal Pictures.

Osborne: Osborne notes that Blyth was loaned out to Warner Bros.

Blyth: And every other studio too! Paramount, 20th Century Fox, etc. She was sent to London to do a picture with Tyrone Power [I'll Never Forget You (1951)]. Blyth got excited talking about Power and remembering his beautiful face and gorgeous brown eyes.

Osborne: Osborne pointed out that Blyth had a batch of handsome leading co-stars.

Blyth: Someone had asked Blyth years ago who she would want to be stranded on a deserted island with. They started listing all the names of the men she had co-starred with and she responded "well, couldn't I take them all with me?"

Osborne: Osborne noted that Blyth's last film was with Paul Newman.

Blyth: Blyth said Newman was a dream and was always well-prepared and professional. That film was The Helen Morgan Story (1957) which was also directed by Michael Curtiz.

Osborne: Osborne asked if she had a favorite among the men she worked with.

Blyth: They were all so different, so talented each in their own particular way. Blyth noted that they were all so good looking and that was the easy part for her. It would be very hard for her to chose a favorite. Can't she chose them all? She had some of the best experiences with actors like Farley Granger, Gregory Peck, etc.

Osborne: Osborne pointed out that Blyth had made a few films in which her leading men were much much older than her. He included Charles Boyer as an example. Boyer was 29 years Blyth's senior [A Woman's Vengeance (1948)].

Blyth: It never entered her mind that these actors were much older. She just appreciated working with such wonderful and talented people. Age had nothing to do with it.

Osborne: Blyth has a wonderful singing voice but wasn't used in musicals for a long time.

Blyth: Blyth noted that she sang in her very first movie. Chip off the Old Block (1944) with Donald O'Connor. Universal didn't use her in musicals after she did Mildred Pierce but she did do a lot of musicals when she moved to MGM.

Osborne: Osborne asked Blyth if making musicals was fun for her.

Blyth: She replied yes especially because of all the beautiful music she was able to sing and called it a "hell of an experience."

Osborne: Osborne points out Kismet (1955), The Student Prince (1954), Rose Marie (1954) in particular. After Blyth treated us with a few musical notes, Osborne asked her why did she stop making films right after The Helen Morgan Story (1957).

Blyth: Things were really beginning to change a lot at that time. However, she did make a serious mistake because there was interest in her doing The Three Faces of Eve (1957) which she turned down. She reminisced that it would have been extraordinary to do that film. The role eventually went to Joanne Woodward.

Osborne: Osborne asked if it was different at each of the several studios she worked at.

Blyth: The movie she made with Tyrone Power was filmed in England so her experience with 20th Century Fox Studios didn't amount to very much. Blyth grew up at Universal so she has distinct memories of that studio. They had a little schoolhouse she attended. She had marvelous teachers when she was there and felt very cared for. They would be with her on the set of different films. Universal was a small studio in comparison to MGM and Paramount.

Osborne: Osborne pointed out to us that Blyth still stays in touch with a lot of her friends from her Hollywood days.

Blyth: Jane Powell, Jane Withers, Joan Leslie, etc. They get together at least 4 times a year especially during Christmas time (My interjection: CAN I HANG OUT WITH YOU LADIES TOO?!).

Blyth says that she feels very blessed and Osborne notes that we were all very blessed to have her there that day. And I agree! It was such a wonderful experience to hear Blyth talk and to watch her on the big screen in Mildred Pierce!

Thursday, May 2, 2013

TCM Classic Film Festival Day #5 Recap

The last day of the TCM Classic Film Festival was bittersweet for several reasons as you'll see below.

I went to the Cinerama Dome to attend a screening of It's a Mad, Mad, Mad, Mad World (1963).

And I took the obligatory photo of the Honeycomb ceiling.

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Tom Brown of TCM hosted and the special guests included actors Mickey Rooney and Marvin Kaplan, actress Barrie Chase and Director Stanley Kramer's widow actress Karen Sharpe Kramer. Carl Reiner couldn't make it and Jonathan Winters had recently passed away. They screened a short tribute to Jonathan Winters and left an open seat for him. It was very sad not to have him there.

At one point during the screening, I went to the bathroom and I saw Mickey Rooney on his way out! Thank you to my weak bladder because I had several run ins with classic film stars and TCM staffers (especially Ben Mankiewicz who I saw about a dozen times) on my way to and from bathrooms. The stars are well protected though and Mickey had staff members nearby who were shielding him from some curious fans. I was just happy to see him up close again.

I plan to do a more thorough post on the talk that happened before the screening!

One of the sad things about the festival is that in order to attend everything you have planned to attend and also eat food in between screenings, you have to leave a few screenings early. I left this film during the intermission to grab a late lunch and to head over to the Grauman's Chinese in time to see Three Days of the Condor (1975).

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I really love Three Days of the Condor (1975). I had seen it for the first time shortly before the festival and was happy to see it again. I have to say, of all the films I saw at the festival, I kinda regret going to this one. I regret leaving in the middle of It's a Mad, Mad, Mad, Mad World (1963) to come see a film I had seen recently. When Robert Osborne interviewed Max von Sydow before the screening, they barely even talked about the movie! It's not even worth it for me to do a separate post about it. Considering I had seen Max von Sydow the day before and the film wasn't brought up then either, I didn't see much value in leaving the Cinerama Dome screening to attend this one. Although it was still wonderful to see the film on the big screen and Max von Sydow and his wife stayed to watch it with us for a bit which was nice too.

I ended up leaving Three Days of the Condor just after one of my favorite scenes and before the film ended to get in line for The General (1926). The thing about watching two films back to back in the same theater is that by the time you get out of the first one, a line has already formed for the next one. They won't let you stay in the theater so you have to get into the new line. I really wanted to see The General and knew a lot of people seeing Three Days of the Condor were going to get back in line for The General so I hightailed it out of there early and got in line. 

Laura of Laura's Miscellaneous Musings had written the seating capacity of each of the theaters. I copied her notes and this was incredibly useful. When you are in line, they give you a number and if you know the theater's seating capacity then you know how good your chance is of getting in. Grauman's Chinese seats 1,100 so I know that being #106 that I had the best chance of getting in. By the way, there are two lines. One for Spotlight and VIP passes. They go first. Then Media and the other passes get in. If you have a Matinee or Palace pass or no pass at all and it's after 6 PM, you have to wait in a standby line and if there are any leftover seats then you can get in for $20 (or $10 if you have a student ID). Carlos had a Matinee Pass and had his student ID and cash on hand and got into several night time screenings this way.

The General (1926) was the grand finale of the festival. Robert Osborne came out to introduce it. He read from notes which he doesn't normally do but did in this case so that he wouldn't forget anything. He thanked the sponsors, especially Porsche because he got to ride around in one during the festival (lucky!) and he also thanked all the TCM staff members who helped make the festival happen. Osborne  announced that there will be a TCM Classic Film Festival in 2014. In fact, April 14, 2014 will be TCM's 20th anniversary so the festival will be tied into that. He also announced that December 3rd, 2013 is the official starting date for the TCM Cruise which will be on the Disney Magic. Osborne said that TCM is very particular about which ships they'll host their cruise on and Conde Nast has ranked Disney Magic as the #1 cruise ship in the world.

Then came some sad news. This screening was the penultimate one before the TCL Chinese Theatre (Grauman's Chinese) converts to IMAX. That means they will rip out all that seating, put in stadium seating and an IMAX screen. They will be closed from now until the summer for renovations. There will be fewer seats and who knows what this will mean for the future.

Osborne told us to look around the theatre after the screening. To take a really good look around because it will be the last time we will see it this way. We all booed and he asked us not to throw anything at him. (LOL). Osborne said that he's been told that they will do a great job and TCM has faith in them. It was nice of him to say that but no one really knows how things will turn out. The way we saw the theatre that night was the same way it had been since 1926! They had held the Academy Awards there and Casablanca (1944) won for Best Picture in that theatre.

The 25 minute Buster Keaton short One Week (1920) was screened before The General as an added bonus which was really great. The Alloy Orchestra played music to both films and it was just a wonderful experience. Seeing Buster Keaton and his hilarious antics on such a gigantic screen, in a beautiful historic theatre that had been that way since the film was released and to be with a thousand other appreciative fans was an experience that just blew me away.

Take a look at the picture above. After the film ended and the Alloy Orchestra took a bow to a standing ovation, we all took Robert Osborne's advice and took a good look at the theatre. We snapped pictures and marveled at the theatre's beauty knowing that we were some of the last people to see it that way. It was a really bittersweet moment.

After the screening, I headed over to Club TCM for the Opening Night Party. It was quite chaotic. There were so many people there and I felt a bit suffocated. Also, they turned me away at one entrance but let me in at another. I ended up hanging out with Carlos and a few others at the Roosevelt Hotel pool which was open to everyone and a lot less crowded. I said my goodbyes to many of the wonderful classic film bloggers I've known for years but got to meet for the first time at the festival. It was sad but I was happy to have had this experience. It's one I will never forget.

Saturday, April 27, 2013

TCM Classic Film Festival Day #3 Recap

Friday was the second official day of the TCM Classic Film Festival but my third day. As I had predicted, I didn't wake up early enough to go see Libeled Lady (1936). I wish I had more energy and a personal driver to take me everywhere I need to go.

I spent the day with my husband which was nice because we had been on different schedules for a couple of days. First stop was to the Chinese Multiplexes to see River of No Return (1954).

Leonard Maltin hosted the screening and introduced special guests producer Stanley Rubin and his wife Kathleen Hughes.

I plan to do a most in depth post later but I really enjoyed Maltin's talk with Rubin and Hughes. When the movie started, something happened. I started to cry and couldn't stop. It was a really emotional moment for me. I think this was for a few reasons. 

River of No Return (1954) is the second Robert Mitchum film I ever saw with Out of the Past (1947) being the first. And as most of you know, Robert Mitchum is my favorite actor. I have always been a fan of Marilyn Monroe too and have seen almost all of her films. Also, I've been to the river in the film. The movie was shot on the Athabasca River in Alberta, Canada and I have very happy memories visiting the river and the Rocky Mountain town Jasper which is situated alongside the river. River of No Return isn't a perfect film but it's one I have loved for as long as I have been a classic film fan. It has a special place in my heart and to see the producer of the film up on stage talking about the movie, sharing his stories and talking about Mitchum and Monroe was truly an honor.  Not only that, Rubin stayed to watch the film with us.

Then it hit me. This is truly amazing. Truly fucking amazing. And then the tears just flowed. Wow.

We left the Chinese Multiplexes and hoofed it over to the Avalon for a taping of Eva Marie Saint: Live from the TCM Classic Film Festival. This event will be televised on TCM so I won't be doing an in depth post but I did want to share a little about it.

 We got absolutely terrible seats because everyone got there super early and we had only gotten there 10-15 minutes before it started. We were in the nosebleed section and there was a lot of moving around to get the best view. 

This event was a taping of the one hour interview for TCM so it took about 2 hours with several stops for make up, clean up, retakes, etc. Tom Brown kicked it off with talking with the audience and getting laughter, titter and awws so they could record those sounds and use them later for editing. Then they brought out Robert Osborne and he fielded some questions from the audience which I thought was very nice of him! 

Out came Eva Marie Saint and at the age of 88 she still looks stunning. We couldn't photograph during the event but she did post for pictures afterwards (hence the photos above). Eva Marie Saint flirted with Robert Osborne calling him her second husband. Her real life husband of 61 years Director Jeffrey Hayden. She called out to him numerous times during the interview which I thought was so sweet. They seem like a very close couple and still very much in love. Eva Marie Saint credited that to the fact that they are Actress and Director and not both Actors or both in different businesses. Because they are both in show business they get the nature of the business. If they were both actors they would in competition with each other. She noted a few couples and used Paul Newman and Joanne Woodward as an example of an exception to that rule.

Eva Marie Saint spoke very fondly of Yves Montand her co-star in Grand Prix (1966) and also mentioned that her daughter had such a huge crush on him and corresponded with him by mail for years. She also spoke about working with Cary Grant, Elia Kazan, Marlon Brando, Paul Newman, Otto Preminger, Montgomery Clift and more. She was absolutely charming, you could tell that she felt very at ease with Robert Osborne which I think made a huge difference. She mentioned that she enjoyed her role in the contemporary movie Because of Winn-Dixie (2005). OMG. I work for that book's publisher! I hope that bit makes it on air.

Overall a good experience even though I got terrible blisters hoofing it there.

The last thing we did was attend the World Premiere Restoration/50th Anniversary screening of The Great Escape (1953). It was screened at the Grauman's Chinese theatre (which I refuse to call by it's new name). It was magical being in such an important and historic theatre.

My husband and I got seats close up. Carlos wasn't happy but I needed to be close to the guests! Before it started, I had gone to the bathroom and I SAW WALTER MIRISCH! It was definitely him because a TCM staffer referred to him as Walter. It was so cool to be that close to him. Also for some reason I keep running in to Ben Mankiewicz. It's happened like 5 or 6 times but I'm too shy to say hi.

An in-depth post on The Great Escape (1963) screening is to come. It was a fun experience. We ended up being too tired to attend the On The Waterfront screening right after and the line for that was long. I hope to have more energy on Saturday and Sunday!

Remember, follow me on Twitter or Instagram at @QuelleLove for live updates of all the TCM Classic Film Festival activities I do as they happen.

Friday, April 26, 2013

TCM Classic Film Festival Day #2 Recap

Thursday was the first full day of the TCM Classic Film Festival. For those of you at home, if you saw the intros last night on TCM for Bite the Bullett (1975) or The Great Race (1965), you may have spotted me in the background of the actor interviews conducted by Ben Mankiewicz. This is the intro with Marvin Kaplan and this is the one for Theodore Bikel. You might see me in the background of an interview in the intro for The Angry Hills (1959) on April 30th on TCM too!

The first event I attended on Thursday was the Meet TCM Panel. It was moderated by Scott McGee and included a panel of 6 TCM staffers who related a lot of very interesting information about what goes on behind-the-scenes at TCM. The first half of the event included questions from Scott McGee and then the audience was given the opportunity to ask questions. I think that second part was a mistake. A few people asked good questions. Others wanted to relate their life stories once they got the microphone.

I was a little late to the trivia game So You Think You Know the Movies? at Club TCM. The Club was packed and I had to sit in the way back. Which was okay for ONE REASON. Norman Lloyd walked right by us. OMG. I couldn't snap a picture fast enough unfortunately. If you look in the above picture, Norman Lloyd is the shorter gray haired gentleman in the dark suit. Aurora of Once Upon a Screen... is standing to his left. She got to shake his hand! The trivia game was pretty cool. They had a few surprised guests who were tied into trivia questions including Michael Badalucco, James Karen and Norman Lloyd. I think it was amazing to have the actors there. 

After the trivia game, some members of the media and bloggers attended a press conference hosted by Robert Osborne at Club TCM. He made the following announcement:

Bonhams to Present Auction of Rare Movie Memorabilia Curated by Turner Classic Movies

Bonhams is a fine arts auction and appraisal house. They plan to have the first auctions with TCM in Hollywood and New York in November of this year. Future locations include Hong Kong and London. Some of the proceeds of the sales will go to The Film Foundation. 

There were two pieces on display at Club TCM that will be part of the future Bonhams-TCM auctions. One of them was Humphrey Bogart's suit from The Big Sleep (1946) and the other was Michael Keaton's batsuit from Batman (1989).  Osborne had three people from Bonhams up on stage to discuss a little about the partnership and about movie memorabilia auctions. One of the dealers said that the suit came from a private Humphrey Bogart collector who wanted to focus more on other types of ephemera. It's a really cool suit! The dealer also said that there will be some smaller yet quality pieces with important movie connections up for auction in the $200-$500 range in addition to the other big pieces that go for the big bucks.

After the press conference, the Club TCM Opening Night Party started. Some of us headed to the pool and hung out for a bit. A lot of people were dressed to the nines! A couple hours later, the poolside special event for South Pacific (1958) started.

There were Polynesian dancers and lots of fire!

Ben Mankiewicz hosted the interview with actresses France Nuyen and Mitzi Gaynor. France Nuyen had a one-on-one interview with Mankiewicz before Gaynor came out which was very smart of them to do because Gaynor pretty much took over from there. More details to come in a future post but let's just say that Mitzi Gaynor referred to Ricardo Montalban as a bitch, she had so much energy she couldn't sit still in her chair and she got up and grabbed her crotch TWICE to demonstrate something that she had witnessed her co-star Rossano Brazzi do. I already thought Mitzi Gaynor was adorable but now I just want to hang out with her and have a couple drinks. She was so much fun and such a delight!

A full moon was out and we watched South Pacific (1958) under the stars. It got cold so...

we went inside and were really happy to see they were also screening the film inside Club TCM.

Overall a great night. Mitzi Gaynor was the highlight for sure. I really wish I had gotten a picture of her grabbing her crotch because that was the funniest thing I had ever seen.

Stay tuned for more details and future recaps.

Thursday, April 25, 2013

TCM Classic Film Festival Press Conference - Robert Osborne

This is the first of my transcripts for the Press Conference that happened on Wednesday April 24th, 2013 at the TCM Classic Film Festival. I tried to be as thorough as possible but there is some paraphrasing along with some quoting. It's not word-for-word but as close as I can get to it. Note that various people asked questions at the press conference. Enjoy!

Question/Comment: 53 year old Film Student complimented Osborne on the reach of TCM programming. It's been therapy for her mother who is in a nursing home.

Robert Osborne:

Osborne noted that what he didn't realize with the channel was that they were going to be nurses for people and help them through things like cancer, divorce and disappointment. He shared the story of one lady who told him that TCM helped her get through a really rough period and that TCM was the one bright thing in her life. Osborne says that it is such a pleasure to know that TCM helps people in that way. He also notes that TCM can be a master class for people who want to learn more about movies. What is great about the festival is that after the first year that they almost sold out before they announced their programming. In 2013, they did sell out before the programming announcement  which meant that people are trusting Charles Tabesh, who handles the programming, and they are giving him the latitude to pick the best movies that he can find. Tabesh in return trusts that they will come to the festival and enjoy the films chosen. Osborne thinks this is fabulous because originally they tried to pick a lot of big titles like Casablanca (1944), Singin' in the Rain (1952), etc. that more people would want to come see. But now he loves the festival without even knowing what is going to be here, and not just to come see celebrities although they'll know they'll be here but he loves that they are also coming to see movies they may not have seen and that discovery is wonderful.

Comment: TCM Film Festival is like the ComicCon for Film Geeks

Robert Osborne:

People at the festival get to meet other people who are like-minded. Osborne was not quite keen on the idea of the TCM Cruise but he says it's a lot of fun. He shared an anecdote that on the last Cruise fans were gathering in rooms for James Cagney fans and Barbara Stanwyck fans etc and he thought it was great that these fans were finding each other. For a lot of people who don't live in major cities like L.A., NYC, San Francisco or Chicago (hey Bob, don't forget Boston!!!), they feel isolated as though they are the only person in the world who loves old movies. They are considered oddballs but when they come to the festival they meet all the other oddballs and they don't feel so alone.

Question: How does you prepare for the TCM Classic Film Festival?

Robert Osborne: 

Once Charles Tabesh puts together the programming, he lets Osborne pick which ones he wants to introduce. He'll try to pick movies he already knows or has a particular regard for. It's hard to pick because scheduling wise if he picks one film he might not be able to do others he likes because of scheduling conflicts. One thing about the festival is that you can't see all the films. Most of the films are ones he is very familiar with or has seen recently. He noted The Razor's Edge (1946) is one of his favorites and he's seen it so many times that he doesn't need to revisit it. However, when it comes to doing long interviews with guests like Eva Marie Saint, he knows her very well  and has done interviews with her before, but when you do an interview for an hour you really need to go back and study up on the history so you can talk to them without referring to your notes. Osborne thinks it's important not to refer to notes during an interview because once you look down on your notes, you lose eye contact with your guest and it's no longer a conversation. Also, you are not really listening to their replies, rather you are studying your notes trying to figure out your next question and you can't respond to things they are saying in the flow of conversation.

Question: Funny Girl (1968) is a restoration and one of the things TCM does is help with restoring classic films. Does Turner finance these restorations or do they get together with other studios?

Robert Osborne: 

Osborne is not sure but he thinks that Turner does get together with other studios and organizations in the restoration process. This is more of a question for Charles Tabesh. It's frightening to Osborne that a movie like Funny Girl (1968) that wasn't from that long ago needs to be restored. Will we eventually lose some of these films if people are not particularly interested in them? Osborne says that it is great to see these restorations. Tabesh really tries to never have a print go on the air or be shown at the festival unless it's a mint print. People are so used to seeing good prints now. Osborne notes Road to Bali (1942), the only Hope/Crosby/Lamour Road picture filmed in Technicolor, and the print they had for it was terrible. He thinks that print had belonged to the Bob Hope estate and somehow it ended up in bad shape. Tabesh said he wouldn't book it in prime time anymore and only show it in the mornings because of the quality. Then  one day Osborne noticed he had to introduce Road to Bali during prime time so he inquired with Tabesh. Tabesh said he found a really great restoration print. Osborne notes that they are always trying to find the best quality print and improve their current library to show the best on TCM. Osborne is excited about seeing Funny Girl and seeing Barbra Streisand 3 stories tall with 2,000 other people is going to be great and beats anything. It's the way it was meant to be seen.

Question/Comment: Person noted that this is one of the few opportunities to see these films on the big screen.

Robert Osborne: In L.A., NYC, Chicago, San Francisco, it's not rare to see classic movies on the big screen. (BOB! Don't forget Boston!!!). Osborne notes that there are so many people who don't get to see these films on the big screen and that is why this film festival is so wonderful. And that's what it's all about. They recognize how proud TCM is to bring out these films from the vaults and have them see it again. But the real way these films were meant to be seen is on the big screen, in a theatre with a bunch of other people. If you see Casablanca on the big screen, in a theatre, with a bunch of other people, it's a totally different movie than when you watch it on TV. No matter how big the screen in your living room is.

Question/Comment: Cinematic sustainability. Why are people going to be watching these movies in the future? What are some of the other ways to make these movies relevant today?

Robert Osborne: Osborne notes that TCM is open to suggestions. If you have some good ideas, let them know. TCM wants to be relevant and interesting. Osborne notes that soon on programming is something he did with Molly Haskell. Osborne said to Haskell that he is amazed that there are all these career women in early film played by actresses like Joan Crawford, Katherine Hepburn, Rosalind Russell, etc. Why has it taken so long to recognize those roles? Haskell replied that at the end of those movies the woman goes with what the man says. Katherine Hepburn might be strong but at the end she'll do what Spencer Tracy wants her to do. Rosalind Russell will hang up her hat and go off with Cary Grant. Osborne says they are doing a series of strong women (executive women in most cases) and how movie makers portrayed them. Haskell notes that women were the main audience for films during that time and they wanted to feel good when the movie was over that they hadn't stayed in business and that would be okay being at home being mother. They didn't want women going away being angry at themselves. Osborne notes that Woman of the Year had another ending but it wasn't used and the disappointing ending is the one we are left with.

Question/Comment: Person noted that it's wonderful that TCM shows silent films and foreign films and restorations. Will TCM be showing more of that?

Robert Osborne: TCM is dedicated to that and wants to be fresh in what they offer. That's why they seek out other studios like 20th Century Fox and Columbia Pictures to get access to those films. TCM has Warner Bros, United Artists, RKO and MGM (until mid 1980s) libraries available but want to go beyond their own vaults. They don't want to show the same movies every month. TCM will try to show films that they screened late at night during the afternoon too. Osborne notes that 20th Century Fox has their own channel but they are not interested in their old movies. They only show them in the afternoon and they do no promotion and are starting to show commercials. Now studios like Fox are opening their vaults. TCM discovered if they show a Fox film like Leave Her to Heaven or something, people will fall in love with the film and want to seek out the DVD. Fox and Universal has seen the benefit of this. They are letting TCM have more access to their movies (they were more protective before) because of this additional revenue stream from DVD sales. When people watch those films on TCM they become acquainted with them and want to buy them.  TCM doesn't care what the motive is.

Question: Was there a film that didn't make it to the Festival?

Robert Osborne: Osborne notes that this is more of a question for Charles Tabesh. Tabesh tries to balance things out so there is a great mixture of films at the festival. Sometimes Tabesh wants a film to be at the festival but can't find a really good print. He'll look into getting one for a future festival. Osborne notes that with Ann Blyth being at the festival this year they are showing Mildred Pierce (1945) and have a great print for that. Blyth was also a big musical star and they wanted to add one of her musicals to the festival. The only one they could get a good Cinemascope print out of was Kismet (1955). Blyth is fond of Kismet but Osborne doesn't think it's the best musical. Vincente Minelli directed it and Osborne notes that Minelli might not have been too familiar with filming with Cinemascope at that time. Osborne also notes that they would have rather had The Student Prince (1954) but they couldn't find a good Cinemascope print. TCM is very adamant about good prints. There was a time when people didn't care about the quality of the print because they were just so happy to be able to see the movie. Osborne notes that now we are spoiled. And so to see a film like Wings (1927) without a really good print is not acceptable anymore.

Question/Comment: Limitations of Studio System and Censorship

Robert Osborne: Osborne notes that for a long time, the studio system got so smacked down by everybody. Now people are recognizing that it was a good system for somethings. It worked very well. Osborne says he thinks some of the best movies were made because there was a censorship. He acknowledges that they went way overboard but it made people be more devious, clever not so overt. He doesn't think that movies have been improved because you can say anything or show anything on screen. Because it falls into the hands of people who don't have any taste and don't know where the limits should be. We don't want censorship but he notes things like Gone With the Wind (1939) and the look on Vivien Leigh's face after Clark Gable has taken her up the steps. (Osborne mimics the face). He notes how sexy that scene is. Osborne notes that The Postman Always Rings Twice (1946) is much sexier than the 1981 remake which has more graphic sex scenes. There were bad things about studio system and censorship, Osborne notes however that they still made a lot of good films. Osborne says he doesn't think there is anything like wit in film anymore. He points out Woman of the Year (1942) and Libeled Lady (1936) that have great wit and weren't hammered over the head with comedy. No bodily fluid jokes. Today people go hog wild.

Question/Comment: TCL is going digital renovations after the Festival. What does Osborne think about taking care of the theatres as well as the films?

Robert Osborne: Osborne has no idea how it is going to work but hopes it works out well. If it doesn't work out well, TCM will just have to adjust to it and figure out something else. Osborne notes that he is a co-owner of a theatre in Washington and were told a year ago as of January 1st that major studios wouldn't be making 35mm prints anymore. You have to be set up for Digital. For a small town theater, that costs $32,000 which is no small change. Most small theaters barely squeak by with the movies they are showing now. Some only make money on popcorn and things because most of the money goes to paying the distributor. In small towns, most people don't eat at the movie theaters. This transition is going to put a lot of mom and pop theaters out of business. He thinks Grauman's will be okay because they are in a big city but is worried more about small towns. Osborne had a fundraiser for his theatre. That town has a big community who loves the Arts so they got a lot of support. They were able to raise the money but only because they were lucky to have that community.

Question/Comment: Lot of hosts at the festival don't have connections to the film except for the fact that they love the film. How did this come to be?

Robert Osborne: Osborne doesn't pick those hosts, it's handled by another department. He makes suggestions. This is going to happen more and more because so many of the films TCM shows don't have people who are alive anymore. (This makes me so sad!). It's amazing that in the four years that they have done the festival how many people have passed away. We are lucky to have as many people to be around with the film as we do. There are not many like Luise Rainer who is 103 and probably willing to come out and introduce The Good Earth (1937) again. Osborne notes that Cher was wonderful as a co-host who shared her love of movies. Was Cher difficult? Osborne says Cher was on-time, so professional, ready, no fussing. Any fussing she did was ahead of time. She always contributed  when they were shooting. Osborne notes that they had dealt with a couple people (who shall remain nameless) that checked themselves out in the mirror and made a fuss.  But none of that with Cher. No Diva at all. Osborne notes that was a little disappointing actually but still great.

Question/Comment: What is Osborne most looking forward to at the Festival this year?

Robert Osborne: Osborne is looking forward to seeing Funny Girl (1968) restored and on the big screen. He's looking forward to The Razor's Edge (1946) because it is one of his all-time favorite movies. Cluny Brown (1946). The Desert Song (1943) because it hasn't been seen in like 60 years and it's a beautiful new Technicolor print. He's excited and notes they built Arabian sets that were used later in Casablanca (1944). He's looking forward to talking to Mel Brooks. He's excited about Ann Blyth and the screening of Mildred Pierce. He notes that Blyth is still so beautiful and such a nice person. He wants in particular to talk to her about the fact that she was so effective as the evil Veda in Mildred Pierce but was never typecast and never cast in that type of role again. That amazes Osborne. She did Veda so well so he's surprised she didn't play "bitches" from then on. (Yes, Osborne said Bitches). She went on to play sweet ingenues.

Comment: About a Noir party where everyone was decked out in vintage style clothes. Young people are really attracted to old movies.

Robert Osborne: Osborne was aware of that from the beginning, how many young people were attracted to TCM. Young people would see Osborne on air and stop him in the streets to gush. Osborne wasn't surprised but he thinks it came as a big shock to the bosses and the people at the channel. They thought it was only for people with gray hair. TCM attracts of all ages. They also found that on the cruise as well. Lots of people under 30 attended. Osborne thinks this is great. And that these new generations will pass their love of classic films to their kids. A lot of people get their love from family influence and Osborne hopes that goes on forever. And hopefully you will go on forever too.

Thank you Robert Osborne!

I'll have the two other Q&As up later but it might take me a little while. Stay tuned.

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