I recall that, Glenn.
And remember the book put out, a number of years ago, by Philip J.
Riley. He also did a reconstruction book of the film, also based on
stills, shooting script etc, back in 2011.
Amazon still offers it for sale:
https://www.amazon.com/London-After-Midnight-Philip-Riley/dp/1593934823
Jeff
On Jul 1, 2017, at 10:44 PM, Glenn Taranto wrote:
A number of years ago TCM did a recreation of LONDON AFTER MIDNIGHT
using stills. It was pretty interesting. I believe it's available
on the Lon Chaney box set.
GT
On Sat, Jul 1, 2017 at 7:37 PM, Jeff Potokar <[email protected]>
wrote:
I have no doubt that if a print was found, cleaned up, restored, if
need be, and a cool original score was written for it, that it
would do very well on the indie and cult circuits.. and could do
even better than that, since a copy hasnt been screened in so many
decades.
I for one, would be thrilled to check it out, vampire teeth and
all. And Chaney's makeup in that film is another that will forever
be remembered.
Jeff
On Jul 1, 2017, at 5:52 PM, S Yafet wrote:
Me too. That makeup, those expressions and those sets look
enchanting. We can always look past moments in our movies that
are dull or pointless (think all the filler in Murders in the Rue
Morgue)
Nathalie
On Fri, Jun 30, 2017 at 2:12 AM, Jeff Potokar
<[email protected]> wrote:
I think there is always a possibility that a print might be found
in a foreign archive... we can only hope.
It would be great to see, even though reviews from the time
described it as a bit dull and slow. maybe all this time later,
were a print to be found, audiences might look past the plodding
story line, just for the fact of seeing Lon Chaney, in motion, as
that vampire character.
I know I'd be glued to the screen.
Jeff
On Jun 29, 2017, at 7:59 PM, S Yafet wrote:
Does anyone think that London After Midnight is lost for all time
or that miraculously sometime a print will turn up?
Nathalie
On Thu, Jun 29, 2017 at 7:17 PM, Paul W. Hazen <00000134c196813f-
[email protected]> wrote:
I didn't see any of the paper materials outside of the few framed
ones they had on the walls but I was told almost all of the
stills in the Browning collection were in excellent condition
with the majority of them printed exclusively for Browning's
review on gelatin silver double weight with some on single matte
and gloss. I'm guessing a lot of these stills were singular and
never seen before as a result. I think you can order a catalog
from Profiles (or maybe find the digital version online). Some
really unique images.
On Jun 29, 2017, at 3:59 PM, Jeff Potokar <[email protected]>
wrote:
Congrats on the win, Paul.
And with the cheapest still selling for $4000.00, that truly
says something about what the Browning Collection was all about.
Were all the stills of the same type (double weight) and
wonderful condition?
On Jun 29, 2017, at 1:14 PM, Paul W. Hazen wrote:
I'm a Kubrick collector mostly so I won the "Lolita" stills
lot. Really only needed 2 of the 10 stills but I figure I can
turn around the others pretty easily.
They had about 250-300 stills and other items from the Browning
collection which I think was 157 lots. Probably about 35-40
lots on Freaks alone and I think the cheapest I saw sell for
$4000. It was majority stills. They had a satchel that held all
of the stills which also went for 10k+.
A lot of the Hurrell stills sold fairly high as well.
Paul
On Jun 28, 2017, at 10:41 PM, Jeff Potokar
<[email protected]> wrote:
Congrats on winning the lot you wanted, Paul.
I'm also in So CA and need to make the effort to get to one of
Profiles' auctions. I would also really enjoy seeing some of
this material in person.
Can I ask which lot (item) you won?
And how many pieces, in total, were offered as part of the
Browning Collection? Was everything from his estate comprised
of stills?
Jeff
On Jun 28, 2017, at 8:32 PM, Paul W. Hazen wrote:
This was my first time in person, I've usually been on the
phone as well. There was about 20-25 people in the back room
where the auction was. They had about 10 or so phone banks
set up for the phone bidders and a couple people running the
online bidding. Was all very professional and had my own
paddle and everything. They had a good dinner spread as well.
They had a lot of the consignments in display cases including
all the big ones and the people that worked there were really
friendly and answered all of my questions. I didn't see too
much of the paper materials displayed, mostly just the props,
but it was pretty cool seeing some of them close up.
It's definitely an interesting experience and I wouldn't
hesitate to sit it in on another one.
The auction did go a lot longer than I anticipated (I was
only there for one lot in particular - which I won) but it
was no fault of their own, they just had a ton of bids. There
were some guys that were there for almost 12 hours when I
left after 4 hours.
Paul
On Jun 28, 2017, at 7:51 PM, S Yafet <[email protected]> wrote:
I guess the provenance was almost impossible to pass up.
Did manage to get a Browning Dracula still so I don't feel
too bad about London After Midnight.
What's it like at their auctions? I've always done the phone.
Nathalie
On Wed, Jun 28, 2017 at 10:37 PM, Paul W. Hazen
<[email protected]> wrote:
I was in the room during the Profiles Browning bidding
session and was truly amazed at some of the prices the
Browning stills were getting especially the Freaks stills
which seem to be have been bought primarily by the same two
phone bidders. Profiles did a great job on that acquisition
and auction and I'm looking forward to the Debbie Reynolds
auction in September.
Paul
On Jun 28, 2017, at 7:26 PM, S Yafet <[email protected]> wrote:
Wow! Naively, I thought it would be great to have
something of Tod Browning's from London After Midnight.
Then, I realized that the four stills I liked the best were
climbing higher and higher. Wound up at 18K. My phone
bidder helper guy told me I could keep one and sell the
other three. Well, no guarantees on something like that
but I can't say I wasn't seriously tempted. (I thought
maybe I'd worry about the money later.
Nathalie
On Wed, Jun 28, 2017 at 3:18 PM, Scott Burns
<[email protected]> wrote:
Wish I had cash like this laying around…(guess I’ll just
stay with collecting paper).
A complete R2D2 just sold for $2.3 million at the Profiles
in History movie memorabilia auction. Not being a prop
collector, I wonder is this price record setting?
From the catalog:
1298. Complete “R2-D2” unit assembled from original
components spanning the original Star Wars trilogy and
Episodes I & II. (TCF, 1977 - 2002) A complete film used R2
unit is not known to be in the public domain – this R2-D2
offering represents the pinnacle of the Star Wars
collecting universe. For the productions following Star
Wars: A New Hope, to save time in meeting production
deadlines, R2 components were reused from the previous Star
Wars films. As filming progressed, R2 units were upgraded
and refurbished, with outdated components being retired.
This process has been confirmed by numerous crewmembers who
worked on the Star Wars film franchise. This R2-D2,
constructed of aluminum, steel and fiberglass elements,
measuring 43 in. tall x 29.5 in. wide x 20 in. deep (in
current pose), was put together over many years by sourcing
original components and assembling them as a complete R2-
D2. The dome was one of the few hero aluminum domes made
for R2 actor Kenny Baker in the first film (A New Hope,
1977) and is the only one known in the public domain. It
was used throughout the original trilogy as well as Episode
I and can be screen matched by the fiber optic array to
scenes in Return of the Jedi and Episode I. It features a
handle to articulate the front eye from inside the unit by
Kenny Baker. The metal “greeblies” (fine details added to
make the device appear more complex) inserted into the
front and rear of the body, and those on the feet, were
made for A New Hope and used on R2 units throughout the
original trilogy. The left and right legs were made for
Empire Strikes Back and were acquired as complete items.
One leg retains the Empire paint scheme and the other from
Jedi. The middle and left foot were used on an original
trilogy R2 and were used as the master pattern for the feet
created for Episode I. The right foot is production made
for Episode I but not used. The small opening hatch on the
back of the body was used in Episode II. The barrel of the
body was made for Episode I and it was subsequently painted
and detailed for this R2 unit. Given the ad hoc nature of
production practices, any “complete” existing R2-D2 units
from the first trilogy (in studio hands) would be a
compilation very similar to this R2-D2 unit offered here.
No internal mechanics or workings are present. Not merely a
prop, costume piece or filming miniature, R2-D2 is a major,
beloved character in the Star Wars universe. Without
question, this is the finest piece ever offered from this
incredible franchise.
One of the most instantly recognizable pieces of pop
culture in existence.
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