The sequence that is considered the most expensive shot in the Silent Era is the climactic train crash in Buster Keaton’s epic comedy “The General”. At $42,000 (in 1927 dollars), the cost was more than 10% of the film’s budget. Because this was a time before CGI, Keaton, shooting in Oregon, took a real locomotive, a real bridge and set up multiple cameras. He then lit the bridge on fire, yelled “action” and captured the wreck on film all in one take.
this one room schoolhouse and teacherage were built in 1914. these buildings were 20 miles down a dirt road in the middle of nowhere. in the early 1900s, young women would reside here to teach and i can’t imagine what a lonely, isolated situation that must’ve been.
We’re spotlighting Tribeca selections helmed by women directors every day of Women’s History Month.
Throughout the month of March, you’ll be seeing films by everyone from Nicole Holofcener and Mira Nair to Sarah Polley and Kelly Reichardt, along with rising artists like Talya Lavie and Meera Menon, two of the four winners of our ongoing Nora Ephron Prize, a festival competition for woman moviemakers devoted to the late, pioneering legend.
Follow along and seek these talents and their cinematic treasures out!
Here’s some great concept art from Brad Bird’s unproduced adaptation of The Spirit. The top image features producer Steven Paul Leiva, Brad Bird, and Will Eisner - who was 100% behind the animated adaptation.
The second image is a letter Brad Bird wrote to Steven Spielberg while trying to promote the film’s test reel in an attempt to ultimately receive funding for a fully animated production of The Spirit.
Born in 1881, Anita Loos spent her childhood in San Francisco. At the age of eight, her father urged Loos and her sister to
begin acting in a stock company. Although acting made money for Loos and her
family, she held dreams of being a writer. By 1911, Loos would be introduced to
short films through the theater where she acted, which would play the reels after performances. She would soon try her luck writing screenplays and soon be writing and sending in scripts to the Biograph company. Her scenario The New York Hat
would be the first to be produced. By 1915 she had moved to Hollywood, where D.W
Griffith secured her a job on the payroll at the Triangle Film Corporation, making her the first writer to ever be put on a payroll at a production company. She
would go on to write a number of sucessful action films for Douglass Fairbanks. Her films were
often noted for their witty intertitles and Photoplay would go on to dub Loos
as” The Soubrette of Satire”
because of this. Throughout the 10’s and 20s,
Loos screenwriting career would continue to prosper. By 1925 Loos would publish
her most famous work Gentlemen Prefer
Blondes which would be adapted into a film starring Marilyn Monroe and Jane
Russel in 1953 (although she had no part in this particualr adaption). The novel proved popular enough that she would be able to adapt her novel for the Broadway stage not soon
after and write a sequel, But Gentlemen Marry brunettes in 1927. Although she
took a break due to marital issues she would return to writing for the silver
screen with Red Headed Women and
continue to write for MGM throughout the 1930s. In 1936 she would win an
Academy Award for the film San Francisco.
She would write the screenplay for one of the most famous films of the 1930s, The Women in
1939. Although she was apprehensive about changes the censors required, the
film has gone on to remembered for its sharp dialogue that only Loos could have
written. Throughout the 1940s she continued writing for the screen and stage.
By the 1950s her biggest contribution would be the stage adaption of Collette’s
Gigi, starring the then unknown Audrey
Hepburn who Loos claimed to have discovered in a hotel lobby in Monte Carlo. By
the 1960s she would go on to begin writing a volume of memoirs which she would
continue to do into the 1970s. On August 18,
1981, Loos would die from natural causes.
“Through contemporary eyes, the static shots and urban milieus of Black Girl seem to solidify Sembène’s filmmaking as an aesthetic neighbor to the emotionally-walloping neorealism of the Italian De Sica. Black Girl may not evoke the immediate adoration of something as universally beloved as De Sica’s Bicycle Thieves, although the latter film’s deft interweaving of personal-is-political social commentary with the rueful, everyday messiness of the lives of the marginalized working class began a storytelling tradition that is gloriously carried on by Sembène. Black Girl has all the skillful stylistic simplicity of your typical piece of neorealism but also packs a sharper bite and it’s electrifying to watch Sembène craft a twisty drama with the piano-chord tautness of a thriller that is nonetheless coated in such a rare and wryly intimate form of humanity.”