#Dan Stoloff

[tv-moments]

The Old Man

Season 2, “IX”

Director: Jet Wilkinson

DoP: Dan Stoloff

[chicinsilk]

Harper's Bazaar UK, November 1950

Cristóbal Balenciaga Haute Couture Collection Fall/Winter 1950-51. Jackie Stoloff in a sculpted 3/4 length coat that flows in deep unpressed pleats, slit at the sides and with elbow-length sleeves gathered in pale stone down.

Cristóbal Balenciaga Collection Haute Couture Automne/Hiver 1950-51. Jackie Stoloff dans un manteau 3/4 sculpté qui coule en plis profonds non pressés, fendu sur les côtés et avec des manches jusqu'aux coudes froncées en duvetyn de pierre pâle.

Photo de Richard Avedon

[boardchairman-blog]

**Shots of the Episode**

The Boys (2019)

Season 3, Episode 1: “Payback” (2022) Director: Philip Sgriccia Cinematographer: Dan Stoloff

[scenesandscreens]

The Boys, Season Two (2020)

[knuckldraugr]

“It's awful, but...”

The Americans (6.10: Start)

Directed by: Chris Long Cinematography by: Dan Stoloff

[papermoonloveslucy]

THE MARINES FLY HIGH

March 7, 1940

Directed by George Nichols, Jr. and Benjamin Stoloff 

Produced by Robert Sisk for RKO Radio Pictures

Screenplay by Jerry Cady and A.J. Boulton, story by A.C. Edington

Filmed October 1939

World Premiere on March 4, 1940

Wide Release on March 7, 1940

CAST

Lucille Ball (Joan Grant) marks her 48th feature film since coming to Hollywood in 1933. It opened exactly a year after she collaborated with Richard Dix and Robert Sisk on Twelve Crowded Hours. 

Richard Dix (Lt. Dan Darrick) was nominated for an Oscar in 1931 for Cimarron. He also appeared with Lucille Ball in Twelve Crowded Hours (1939).

Chester Morris (Lt. Jimmy Malone) was nominated for an Oscar in 1929 for Alibi. He also appeared with Lucille Ball in Five Came Back (1939). In December 1960, Morris was a guest on “The Tonight Show with Jack Paar” which also featured Lucille Ball, Desi Arnaz, and little Lucie. 

Steffi Duna (Teresa) was a Hungarian-born actress who also appeared with Lucille Ball in Panama Lady (1939).

John Eldredge (John Henderson) appeared on “I Love Lucy” in “Lucy’s Night In Town” (ILL S6;E22) in 1957. He was a theatre-goer sitting behind the Ricardos and the Mertzes in the box seats watching The Most Happy Fella. 

Paul Harvey (Col. Hill) did seven films with Lucille Ball between 1934 and 1943. In 1953 he played the art critic from the New York Times in “Lucy the Sculptress” (ILL S2;E15).

Dick Hogan (Cpl. Haines) also appeared with Lucille Ball and Chester Morris in Five Came Back (1939). 

Ann Shoemaker (Mrs. Hill) makes her only appearance with Lucille Ball. 

Nestor Paiva (Pedro Fernandez) appeared on the very first episode of “The Lucy-Desi Comedy Hour” in 1957 - “Lucy Takes a Cruise To Havana” as the jailer. In 1964 he played Mr. Perkins, boss of the Handy Dandy Vaccum Cleaner Company in “Lucy and the Missing Stamp” (TLS S3;E14).  

UNCREDITED CAST

Abner Biberman (Gomez) appeared with Lucille Ball and Steffi Duna in Panama Lady (1939).

Ethan Laidlaw (Barnes) appeared in seven films with Lucille Ball between 1933 and 1947. 

Pedro de Cordoba (Grant Farm Worker) also appeared with Lucille Ball and Chester Morris in Five Came Back (1939).

Kirby Grant (Lt. Hobbs) appeared with Lucille Ball in I Dream Too Much (1935).

Selmar Jackson (Doctor) appeared in seven films with Lucille Ball between 1933 and 1949.

Paul McVey (Pilot) appeared with Lucille Ball in Bottoms Up (1934). 

Horace McMahon (Monk O'Hara) was nominated for an Emmy Award in 1958. He appeared with Lucille Ball in That’s Right - You’re Wrong (1939). 

John Sheehan (Airplane Seller) makes his only appearance with Lucille Ball. 

THE STORY

Set somewhere in the Central American jungles, Joan Grant (Lucille Ball) runs a cocoa plantation. She also allows a platoon of US Marines to stay there. Two of the Marines, Malone (Chester Morris) and Darrick (Richard Dix), tussle over her affections. When she is kidnapped the two unite to save her. Henderson (John Eldredge), the plantation foreman, is really El Vengador, the kidnapper. He sets a trap for the Marines he knows will try to rescue her. The two rivals eventually realize that to defeat the enemy, they will have to work together. When Malone is heading for an ambush, Derrick flies to his aid and rescues Joan.

TRIVIA

Benjamin Stoloff took over direction of the film when George Nichols Jr. was killed in an automobile accident during production.

Lucille Ball and husband Desi Arnaz would later purchase the RKO 40-Acres backlot as part of her Desilu Studios holdings. 

Lucy Carmichael is mistakenly drafted into the Marines in “Lucy Gets Caught Up in the Draft” (TLS S5;E9) in 1966.  One of television’s most popular depictions of Marines was “Gomer Pyle USMC” [United States Marine Corps] a series filmed at Desilu Studios. Its star, Jim Nabors, did a cameo as Pyle in this episode. 

“The Marine’s Hymn” is heard at the beginning and end of the film. In “Lucy is a Sax Symbol” (LWL S1;E5) in 1986, Lucy Barker manages to squeak out a rusty rendition of “The Marine’s Hymn” on her old saxophone for her granddaughter.  

A clip from this film is included in “Lucy and Desi: A Home Movie” (1993).

[growhunter407]

Spud Murphy Equal Interval System

The final third of Spud’s life was devoted to sharing and teaching the vast knowledge of his creation, The Equal Interval System. This method is a totally unique way of viewing, organizing and understanding harmony and musical composition. Spud began creating his system as a young man and continued refining it throughout his 97 years.

Lyle 'Spud' Murphy's Equal Interval System. Personal Website. Report this profile; About. I'm a composer/arranger. I've had the pleasure to write and produce music for all types of media.

The Equal Interval System of Horizontal Composition was developed to satisfy the working musician’s need for a theory method which would enable one to express, freely, their own musical ideas. It is a simplified and highly accurate method of counting, or spacing, all of the horizontal and vertical intervals used in modern music.

(Redirected from Lyle Murphy)

Lyle Murphy's System of Horizontal Composition Based on Equal Intervals: Book I. Basic Theory + Book II. System of Progressions Spiral-bound – January 1, 1993 by Lyle Murphy (Author) › Visit Amazon's Lyle Murphy Page. Find all the books, read about the author, and more.

Miko Stefanovic (August 19, 1908 – August 5, 2005), better known as Lyle 'Spud' Murphy, was an American jazz multi-instrumentalist, bandleader, and arranger.

Early life(edit)

Born Miko Stefanovic to Serbian émigré parents in Berlin, Germany, Murphy grew up in Salt Lake City, Utah, where he took the name of a childhood friend.

Music career(edit)

Murphy studied clarinet and saxophone when young and took trumpet lessons from Red Nichols's father. He worked with Jimmy Joy in 1927–28 and with Ross Gorman and Slim Lamar (on oboe) in 1928. He worked in the early 1930s as saxophonist and arranger for Austin Wylie, Jan Garber, Mal Hallett, and Joe Haymes, then became a staff arranger for Benny Goodman from 1935–1937. At the same time he contributed arrangements for the Casa Loma Orchestra, Isham Jones, and Les Brown.

From 1937–1940 Murphy led a big band, and from 1938–39 recorded for Decca Records and Bluebird Records. In the 1940s he moved to Los Angeles, where worked in studios and film music, in addition to writing and teaching the 1200-page System of Horizontal Composition (a.k.a. 'Equal Interval System'). He recorded two jazz albums in the 1950s, but his later career was focused on classical and film music. In the film world, Murphy was staff composer and arranger for Columbia Pictures under Morris Stoloff. He worked on over 50 films, including The Tony Fontane Story, which won him the Neff Award for best music score.

In addition to being a talented composer, arranger, and musician, Murphy became a renowned educator, writing over 26 books on various topics in music, such as instrumental techniques and music theory. His crowning achievement was his 12-volume course in composing, arranging, and orchestration for the professional musician titled The Equal Interval System. He taught mostly in Los Angeles but also a special course at the Mount Royal Conservatory in Calgary, Canada. He was an instructor who was voted Educator of the Year in 1990 by the Los Angeles Jazz Society. Murphy died in Los Angeles two weeks short of his 97th birthday. In 2003, orchestra leader Dean Mora, a friend of Murphy, recorded some two dozen of his arrangements in a tribute CD, Goblin Market.

Equal Interval System (EIS)(edit)

The Equal Interval System (EIS) (also known as the System of Horizontal Composition based on Equal Intervals) is a modern system of music composition developed by Murphy over a lifetime of research. Several courses based upon the EIS system are taught at Pasadena City College. Many notable composers and arrangers have been students of the Equal Interval System, such as Tom Chase, Gerald Wiggins, Jimmie Haskell, Richard Firth, Mary Ekler, David Blumberg, Steve Marston, Clair Marlo, Dan Sawyer, Don Novello, Don Peake, Danny Pelfrey, Craig Sharmat, Scott Paige, James L. Venable, Marcos Valle and Oscar Peterson.

Spud Murphy Equal Interval System Function

Spud Murphy Equal Interval System Definition

Discography(edit)

Four Saxophones in Twelve Tones (GNP Crescendo, 1955)

New Orbits in Sound (GNP Crescendo, 1955–57)

Gone with the Woodwinds (Contemporary, 1955)

Twelve-Tone Compositions and Arrangements by Lyle (Contemporary, 1955)

References(edit)

Spud Murphy Equal Interval System Pdf

Dean Mora's Modern Rhythmists, Goblin Market (Mr. Ace Records)

Scott Yanow, Spud Murphy Allmusic

External links(edit)

Spud Murphy Equal Interval System

Spud Murphy at Find a Grave

Spud Murphy Equal Interval System Problems

Retrieved from 'https://en.wikipedia.org/w/index.php?title=Spud_Murphy&oldid=954062003'

[serieouslymovieing]

Suits (TV Series) (2011)

Título original    Suits (TV Series)

Año    2011

Duración    40 min.

País    Estados Unidos Estados Unidos

Dirección    Aaron Korsh (Creator), Kevin Bray, Anton Cropper, Michael Smith, Silver Tree, John Scott, Jennifer Getzinger, Christopher Misiano, Roger Kumble, Cherie Nowlan

Guion    Aaron Korsh, Genevieve Sparling, Rick Muirragui, Jon Cowa, Ethan Drogin, Justin Peacock, Sean Jablonski, Daniel Arkin, Kyle Long

Música    Christopher Tyng

Fotografía    Patrick Cady, Dan Stoloff, John B. Aronson, Alwyn Kumst, Jim Denault

Reparto    Patrick J. Adams, Gabriel Macht, Meghan Markle, Gina Torres, Rick Hoffman, Max Topplin, Sarah Rafferty, Vanessa Ray, David Costabile, Tom Lipinski, Tricia Helfer, D.B. Woodside, Rebecca Schull, Abigail Spencer, Jacinda Barrett, Eric Roberts, Brandon Firla, Jenny Mollen, Amanda Crew, Lindsey Kraft, Elizabeth Wood, Alyssa Veniece, Jeananne Goossen, Gary Cole, Leeah Wong, Rachael Harris, Melanie Papalia, Christina Cole, Gina Holden

Productora    Emitida por la cadena USA; Dutch Oven

Género    Serie de TV. Drama. Comedia | Drama judicial. Comedia dramática

Web oficial    http://www.usanetwork.com/series/suits/

Sinopsis    Serie de TV (2011-Actualidad). Michael Ross se gana la vida bordeando los límites de la legalidad. Es un joven muy inteligente, pero las malas compañías de la universidad lo llevaron a creer que para triunfar en la vida hay que saltarse las reglas. Así, por ejemplo, vive de presentarse en nombre de otros a los exámenes de Derecho. Por azar conoce a Harvey Specter, uno de los abogados más jóvenes y brillantes de Manhattan. La inteligencia y las dotes de Michael lo deslumbrarán tanto que lo contrata a pesar de que aún no ha terminado la carrera. (FILMAFFINITY)

Premios    2011: Sindicato de Actores (SAG): Nominada Mejor actor serie drama (Adams)

[njawaidofficial]

'Suits' Inside 100th Episode | Hollywood Reporter

http://styleveryday.com/2017/08/31/suits-inside-100th-episode-hollywood-reporter/

'Suits' Inside 100th Episode | Hollywood Reporter

[Warning: The story below contains spoilers from Wednesday’s episode of Suits, “100.”]

Batman and Robin were back in action Wednesday night for a landmark episode of Suits, and it was about time for many fans of the long-running USA series. In the show’s 100th episode, Mike (Patrick J. Adams) and Harvey (Gabriel Macht) took on their two largest clients in an underhanded move that both brought justice to wronged prisoners and cleared new PSL member Alex Williams (Dule Hill) from taking the fall for the companies.

The episode was also rife with returning guest-stars, including Wendell Pierce, Jay Harrington, Paul Schulze and Rachael Harris, as Louis (Rick Hoffman) had to decide what kind of man he is. Meanwhile, Donna (Sarah Rafferty) dealt with a proposal from a married ex, and Rachel (Meghan Markle) pushed for a spot at the table alongside Harvey and Mike.

To go further behind the scenes in the making of the episode and to dissect what’s been referred to as a “love letter” to fans, THR caught up with series star and episode director Adams, along with showrunner Aaron Korsh.  

Why was Rick Muirragui the right choice to write this episode?

Korsh: I asked Rick to write it because he has been with the show since the first episode. He left for six episodes in season five because we did a pilot together but I don’t really count that because I kept working with him. So he’s the only writer that’s been here with me since day one. Rick has somewhat specialized in some of the flashback episodes and he’s very good at bringing ideas to special episodes to make it a little bit more special. I knew he would bring that to the table.

Why was Patrick the right person to direct it?

Korsh: It’s not the first episode Patrick’s directed for us; it’s the fourth. Patrick has always done a great job directing, so it’s not a special event necessarily. He’s got a great eye for the camera, and in addition he’s a very critical thinker. He’s always thinking about how to make this thing better and how to elevate it to another level. He’s an actor so he knows how to talk to the actors, and I knew the episode would be in great hands with him. With any luck he’ll direct for us again. It’s good to have the episode directed by someone you know that you can trust and will do a good job with it.

Patrick was there extra pressure knowing this was the 100th?

Adams: I had no idea that the eighth episode of the season was going to be the hundredth episode, but I knew that if I was going to direct in the first ten, there is a little more prep time before episode eight because we take off a few days or a week. So early on I made it known that I would love that slot. Part of that was also because our cinematographer Dan Stoloff was only going to be there for the first 10 episodes and then he was going to do The Americans after. I really, really wanted to work with him one last time because I learn so much about camera setup and about lighting every time I work with him. So I put in the ask for episode eight. And the response was that we’d talk about it. I didn’t understand that there was this other element to it. Finally the producers called and said it turns out that it was the 100th episode, and we had to figure the politics of it and make sure it was fine.

Did you campaign a little at that point?

Adams: I just told them that I understood if they gave it to somebody else, but that I would take this opportunity very, very seriously and I would be honored to do it. I thought I could do a great job. A few days later they called and said, “Yep, we agree” and they let me do it. I was super excited and felt really honored.

Was directing something you had always campaigned for?

Adams: I said it very early on in the show because when we got up to Toronto, Covert Affairs was shooting right next to us and Chris Gorham was directing the second episode of that season. That was the first time I went, “You can do that? That’s cool.” Our shows are made by the same production company so I just made it known I’d love to have this opportunity. So I shadowed other directors and spent some time getting to know the process. I didn’t direct for the first time until the fourth season, so they gave me four years to really wrap my head around what the responsibility would be, how I would do it and which directors I wanted to sort of be mentored by. I basically ended up shadowing two different people, Mike Smith and Kevin Bray.

What was your reaction to reading “100?”

Adams: After seven years, I felt like this episode could be something of a love letter to Suits because they wrote it that way. There were a lot of great classic Suits moments in it. But for me, it was also a way of putting all of the great things that I’ve learned and what I love about the show into the episode. I wouldn’t have that opportunity as an actor, or as wide of power to do that as I did as a director.

How does the tone of Suits at 100 compare to the tone from the early days?

Korsh: The show needed to be a little more weighted or to carry a little more weight in order to last a long time. We still try to do a mix of drama and comedy. Our world is so established at this point that we’re able to pull off darker storylines like Mike going to jail. Once you’re a sixth year show, your tone is sort of established. 

Adams: Ultimately, the show grew up. Everyone on the show grew up. And everyone on the show was really interested in coming to do work that felt like it was a little bit more weighted. We still feel that after seven years people have invested so much time in these characters and stories that if you’re going to make it worth their while you have to really take them seriously and not always just look for the joke. The show is smart because it has characters that are built for funny. Like Rick Hoffman can break your heart, but he’s also so great with comedy so you can write him a B storyline that keeps you laughing the whole time while Harvey is dealing with a therapist or his heartbreaking mother issues. That’s part of what the success of the show is really about.

What kinds of notes does the network give you guys at this point?

Korsh: The network and studio in general — even from the very beginning — have been incredibly supportive. They’re passionate champions of the show. They never sit back and say, “Do whatever, we don’t care.” And they never make us do a thing we don’t want to do. They’re like a mirror and ask questions that are smart. They want us to think about the repercussions of things we do. They push us to realize the consequences of the decisions we’re making and to make sure we’re really good at what we’re doing. This year early in the season Harvey was going to promote Donna to be partner. They pointed out that it was a big step. Of course it was too much. But that led us to think about Harvey being overwhelmed and making a terrible decision and then dealing with the consequences and Harvey having to basically demote her in another episode. They never said not to do it, but they pointed out the validity of it and we walked it back a little bit. That’s an example of a great partnership; it led to more story in the next episode.

Were there other special elements that felt integral to incorporate into “100?”

Korsh: The good news is that the episode landed at the eighth episode, which always lands pretty close to the crescendo that we’ve got going on in the first 10. I didn’t know that we needed inherently to double down on the specialness for 100. But when we got down to it and had to write the thing and figure out what we were doing, I knew we made the right choice with Rick. I like to think it’s just a great episode of Suits. Obviously we try to make every episode as good as we can — we’re never phoning it in. But we did try to bring a little extra love to the episode itself; at least that’s how I would phrase it.  

Suits airs Wednesdays at 9 p.m. on USA.

What did you think of the 100th episode? Share your thoughts in the comments below.

Twitter: @amber_dowling

Suits

#100Th #Episode #Hollywood #Reporter #Suits

[tv-moments]

The Old Man

Season 2, “IX”

Director: Jet Wilkinson

DoP: Dan Stoloff

[boardchairman-blog]

**Shots of the Episode**

The Boys (2019)

Season 3, Episode 6: “Herogasm” (2022) Director: Nelson Cragg Cinematographer: Dan Stoloff

[boardchairman-blog]

**Shots of the Episode**

The Boys (2019)

Season 3, Episode 2: “The Only Man in the Sky” (2022) Director: Philip Sgriccia Cinematographer: Dan Stoloff

[boardchairman-blog]

**Shots of the Episode**

The Boys (2019)

Season 3, Episode 5: “The Last Time to Look on This World of Lies” (2022) Director: Nelson Cragg Cinematographer: Dan Stoloff

[boardchairman-blog]

**Shots of the Episode**

The Boys (2019)

Season 2, Episode 1: “The Big Ride” (2020) Director: Philip Sgriccia Cinematographer: Dan Stoloff

[boardchairman-blog]

The Boys (2019)

Season 2, Episode 5: “We Gotta Go Now” (2020) Director: Batan Silva Cinematographer: Dan Stoloff