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Buku Zen Showes Me The Wan by Hanakawa sessne

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Zen Showes Me The Wan by Hanakawa sessne

Author:Hanakawa,sessne

Language: eng

Format: epub

Tags: Banasthali

Published: 1946-07-10T16:00:00+00:00

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Zen Showes Me The Wan by Hanakawa sessne

man, a Spaniard-the nationality didn’t count,” I explained to Pearl Gaddis, a writer from Motion Picture Classic magazine, when she asked me about this early in 1916, a few months after The Cheat had made its debut and was playing throughout the country. “The man was merely a villain, and a new twist was given the scenario by making him a Japanese.”

The Cheat was an original film scenario written by a Lasky staff writer, Hector Turnbull, who formerly had been the dramatic critic of the New York Tribune. He was paid §250 for it. The picture cost §17,000 to make and netted the Lasky company the largest single picture profit it had made up to that time, $120,000.

A curious bit of history concerning the scenario is that it was converted into a play and produced on the stage after it was produced as a motion picture; and, still later, was turned into an opera that was performed at the Metropolitan in New York. This uniqueness has confused film and theatrical historians. Only recently one, while discussing the picture, referred to the source as a “hackneyed but powerful old barnstormer,” as if the play had come first. As a matter of further fact, the play did and did not come first, for after The Cheat was turned into a play and an opera, it was made twice more as a film. I played my same role in one of the two remakes—a sound version produced in France more than twenty years after the original. Mr. Lasky was certainly right when he described the scenario in liis memoirs as a $250 phenomenon. I don’t think any other film script has yielded so much production mileage.

 

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Zen Showes Me The Wan by Hanakawa sessne

Author:Hanakawa,sessne , Date: July 11, 2019

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Author:Hanakawa,sessne

Language: eng

Format: epub

Tags: Banasthali

Published: 1946-07-10T16:00:00+00:00
man, a Spaniard-the nationality didn’t count,” I explained to Pearl Gaddis, a writer from Motion Picture Classic magazine, when she asked me about this early in 1916, a few months after The Cheat had made its debut and was playing throughout the country. “The man was merely a villain, and a new twist was given the scenario by making him a Japanese.”

The Cheat was an original film scenario written by a Lasky staff writer, Hector Turnbull, who formerly had been the dramatic critic of the New York Tribune. He was paid §250 for it. The picture cost §17,000 to make and netted the Lasky company the largest single picture profit it had made up to that time, $120,000.

A curious bit of history concerning the scenario is that it was converted into a play and produced on the stage after it was produced as a motion picture; and, still later, was turned into an opera that was performed at the Metropolitan in New York. This uniqueness has confused film and theatrical historians. Only recently one, while discussing the picture, referred to the source as a “hackneyed but powerful old barnstormer,” as if the play had come first. As a matter of further fact, the play did and did not come first, for after The Cheat was turned into a play and an opera, it was made twice more as a film. I played my same role in one of the two remakes—a sound version produced in France more than twenty years after the original. Mr. Lasky was certainly right when he described the scenario in liis memoirs as a $250 phenomenon. I don’t think any other film script has yielded so much production mileage.

Mr. De Mille also remarks about the screen-to-stage journey of The Cheat in his autobiography. He points out that it “was the first motion picture to be later made into a stage play.” And he also writes: “It was also Sessue

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