#lemmon production

[luckypluckychair]

The Apartment | 1960

Director: Billy Wilder

Production designer: Alexandre Trauner / Set decorator: Edward G. Boyle

[hotvintagepoll]

this is a poll for a movie that doesn't exist.

it is vintage times. the powers that be have decided it is time to remake the classic vampire novel Dracula for the big screen once more. in an amazing show of inter-studio solidarity, all of hollywood's hottest elite are up for the starring roles. they know whoever is cast will greatly impact the quality and tone of the finished production, so they are turning to their wisest voice for guidance.

you are the new casting director for this star-studded epic. choose your players wisely.

Previously cast:

Jonathan Harker—Jimmy Stewart

The Old Woman—Martita Hunt

Count Dracula—Gloria Holden

Mina Murray—Setsuko Hara

Lucy Westenra—Judy Garland

The Three Voluptuous Women—Betty Grable, Marilyn Monroe, and Lauren Bacall

[citizenscreen]

Shirley MacLaine and Jack Lemmon during production of Billy Wilder’s IRMA LA DOUCE (1963)

[rwby-is-the-best]

i bet corporations in the rwby universe have a list of like 20 colors that every product has to come in otherwise everyone shopping will think "oh this microwave is really nice but it doesn't come in dark green. what am i supposed to do, get the teal one?? that's my dad's color!!" or parents shopping for school supplies with their kids and sure maybe one brand of backpack has really good back support but it doesn't come in yellow and little Amarillo Sunflower Lemmone is going to cry in aisle 12

[lazzarella]

Top 10 Things

For some reason, I've decided to compile lists of my various top ten things, a completely pointless venture because I highly doubt anyone will read it, and I already know what they are, but I'm doing it anyway! lol

(I've included: bands; solo artists; albums; books; poems; graphic novels/comics; tv shows; BL series; murder mystery shows; movies; actors; actresses; directors; musicals)

BANDS

The Beatles

ABBA

Belle and Sebastian

Led Zeppelin

The Raveonettes

The Decemberists

Ramones

Blondie

Sparks

Judas Priest

SOLO ARTISTS

John Grant

Rufus Wainwright

Connie Francis

Kylie Minogue

Angel Olsen

Prince

Sufjan Stevens

Kate Bush

David Bowie

Keaton Henson

ALBUMS

Queen of Denmark by John Grant

69 Love Songs by The Magnetic Fields

In the Aeroplane Over the Sea by Neutral Milk Hotel

Rubber Soul by The Beatles

Picaresque by The Decemberists

Houses of the Holy by Led Zeppelin

You Could Have It So Much Better by Franz Ferdinand

Purple Rain by Prince

Transformer by Lou Reed

If You're Feeling Sinister by Belle and Sebastian

BOOKS

The Haunting of Hill House by Shirley Jackson

Grief is the Thing With Feathers by Max Porter

Rebecca by Daphne du Maurier

The Blind Assassin by Margaret Atwood

Sharp Objects by Gillian Flynn

The Murder of Roger Ackroyd by Agatha Christie

The Hobbit by JRR Tolkien

The Bloody Chamber and Other Stories by Angela Carter

The Charioteer by Mary Renault

The Big Sleep by Raymond Chandler

POEMS

Having a Coke With You by Frank O'Hara

Every poem in Crush by Richard Siken

The Second Coming by WB Yeats (alternatively, The Mermaid)

The Love Song of J. Alfred Prufrock by T. S. Eliot

Dulce et Decorum Est by Wilfred Owen

Love Sonnet XI by Pablo Neruda

somewhere i have never travelled, gladly beyond by e.e. cummings

Wild Geese by Mary Oliver

Tired by Langston Hughes

Perhaps the World Ends Here by Joy Harjo

GRAPHIC NOVELS/COMICS

Paper Girls

Ghost World

Persepolis

Bandette series

Delilah Dirk and the Turkish Lieutenant + sequels

The Fade Out

The Case of the Missing Men

The Less Than Epic Adventures of TJ and Amal

It's a Good Life, If You Don't Weaken

Nimona

TV SHOWS (that are not BLs or murder mysteries XD)

Spaced

Supernatural

The Hour

Buffy

Life on Mars/Ashes to Ashes

This is England 86/88/90

I Love Lucy

Pushing Daisies

Dark

In the Flesh OR The Young Ones OR Xena (I was going to choose but meh)

(A full list of my favourite TV shows on Serializd)

BL SERIES (MASTERLIST HERE)

Moonlight Chicken

My Personal Weatherman

KinnPorsche

Cherry Magic (Thailand)

Century of Love

Wandee Goodday

Old Fashion Cupcake

A Tale of Thousand Stars

Only Friends

Jack O'Frost

(I have a feeling Kidnap is going to take the place of one of these though)

MURDER MYSTERY SHOWS

Poirot

Marple

Rosemary and Thyme

Twin Peaks (it counts XD)

Miss Fisher's Murder Mysteries

Endeavour

Beyond Evil

Murder, She Wrote

Jonathan Creek

George Gently

MOVIES

(if I do subcategories for this, we'd be here all day! But ftr my favourite genres are film noir, musicals, rom-coms, horror—mostly slashers and gialli, 50s/60s sci-fi...)

The Rocky Horror Picture Show

Clue

Strictly Ballroom

Charade

Velvet Goldmine

Hedwig and the Angry Inch

Call Me By Your Name

God's Own Country

Secretary

That Thing You Do!

(A full list of my favourite films on Letterboxd)

ACTORS

Robert Redford

Colin Farrell

James Spader

Keanu Reeves

Danny Kaye

Humphrey Bogart

Dirk Bogarde

Frank Sinatra

Jack Lemmon

Ben Whishaw

ACTRESSES

(only separating by gender to get more in XD)

Doris Day

Audrey Hepburn

Amy Adams

Lucille Ball

Jane Fonda

Kirsten Dunst

Marilyn Monroe

Nicole Kidman

Michelle Williams

Cate Blanchett

DIRECTORS

Gregg Araki

Alfred Hitchcock

John Waters

Sofia Coppola

Agnès Varda

Wes Anderson

Billy Wilder

Pedro Almodóvar

Stanley Donen

Dario Argento

MUSICALS

(only counting ones I've seen productions of myself)

The Rocky Horror Show

Little Shop of Horrors

Aladdin

Matilda

Cats

Chicago

Hairspray

Wicked

Singin' in the Rain

9 to 5 tied with Priscilla: Queen of the Desert

[usafphantom2]

U.S. Navy awards Boeing $1.3 billion contract for 17 new F/A-18E/F Super Hornet fighter jets to help address strike fighter shortfall.

The deal also includes a technical data package vital for sustaining the Super Hornet fleet well into the 2040s.

"Data package necessary for operational readiness & post-production sustainment" - Rear Adm. John Lemmon, PEO Tac Air.

Undefinitized contract action now, with the plan to definitize the terms in the next few months using Congressional funding.

Deliveries of the new Block III Super Hornets are scheduled from winter 2026 through spring 2027.

"Ensures our warfighters have resources to defend the nation & return home safely" - Capt. Michael Burks, F/A-18 Program Manager.

The purchase sustains Boeing's F/A-18E/F production line as Navy bridges to next-generation fighters like the F-35C and F/A-XX.

#USNavy #USA

@Defence_IDA via X

[byneddiedingo]

Good Neighbor Sam (David Swift, 1964)

Cast: Jack Lemmon, Romy Schneider, Dorothy Provine, Mike Connors, Edward G. Robinson, Edward Andrews, Louis Nye, Robert Q. Lewis, Charles Lane, Linda Watkins, Joyce Jameson. Screenplay: James Fritzell, Everett Greenbaum, David Swift, based on a novel by Jack Finney. Cinematography: Burnett Guffey. Production design: Dale Hennesy. Film editing: Charles Nelson. Music: Frank De Vol. 

[pepperbag76]

“ Tony Curtis and Jack Lemmon on the studio lot during production of Some Like It Hot (1959) “

Source: tooldhollywoodandbeyond

[illustraction]

The GREAT RACE (1965) - PETER FALK POSTERS (Part 9/10)

By 1962 PETER FALK was a famous name in Hollywood having had two Oscar nominations for Best Supporting Actor in 1961 and 1962.

This allowed him to get second Top billing in the big production movie she was cast on such as the whacky race comedy directed by Blake Edwards in which he plays Jack Lemmon's evil sidekick Maximilian Meen which directly inspired Hanna and Barbera to create Dastardly and Muttley in the Wacky Races animated series.

Above are original movie posters from Belgium, Finland, France, Germany, Italy and Japan (click on each image for details).

Director: Blake Edwards Actors: Peter Falk, Tony Curtis, Jack Lemmon, Natalie Wood

ALL OUR PETER FALK POSTERS ARE HERE

If you like this entry, check the other 9 parts of this week’s Blog as well as our Blog Archives

All our NEW POSTERS are here All our ON SALE posters are here

The posters above courtesy of ILLUSTRACTION GALLERY

[thishadoscarbuzz]

290 - The Front Page (w/ Roxana Hadadi) (70s Spectacular - 1974)

1974 brings us to one of the final films of Billy Wilder, which also reunited a screen duo beloved by both Oscar and audiences, Jack Lemmon and Walter Matthau. Vulture writer Roxana Hadadi is back to the show to talk about The Front Page, an oft-adapted farce about newspapermen getting wrapped up in the case of an escaped convict. Most famously retold in a gender swapped version in His Girl Friday, this version stumbles to deliver the best of this director-star trio and missed Oscar's good graces despite multiple nominations in the decade for Mathau and Lemmon, including Lemmon's win the previous year.

This episode, we talk about the victory lap made by Francis Ford Coppola with The Godfather Part II and The Conversation both earning Oscar love. We also talk about the film's apoliticism was atypical of the moment, our love for Ingrid Bergman's Supporting Actress speech, and the hubbub over the acceptance speech for Best Documentary Feature Hearts and Minds.

Topics also include disaster movies becoming the splashy Hollywood product, The Godfather Part II Supporting Actor nominations, and Anderson Cooper talking about his mom hooking up with Marlon Brando.

The 1974 Academy Awards

Subscribe:

Patreon

Spotify

Apple Podcasts

[oscarupsets]

Hello, 1960s! New decade, new vibes.

Widely acclaimed Best Picture winner The Apartment left me upset-less for this year. While critics are lukewarm about the other nominees, one source did hint towards another fan-favorite: Psycho.

I will not hide it, I LOVE The Apartment. I think it's the humor that gets to me. There's also something Jack Lemmon brings to his characters that is just SO good. He's quirky, he's funny, I just can't explain it. Caught between Lemmon and past-Upset star Fred MacMurray, Shirley MacLaine delivers an equally endearing performance.

Released 20 years after his Best Picture winner Rebecca, Alfred Hitchcock's Psycho is one of his many later films that missed out a Best Picture nomination.

In 1960, Psycho was groundbreaking in terms of violence and sex in film. The violence in question is some stabbing that doesn't actually produce wounds, while the sex is two unmarried people sharing a bed. Not knocking it, just interesting how far we've come from 1960.

The production also felt groundbreaking for the time, especially the camera angles. They were all over the place and super fun, especially the really low shots and the birds-eye-like staircase shots.

Alfred Hitchcock implemented strict standards during the showings of Psycho. People were not allowed to be admitted into the theater once the film had begun, and even pay-per-view equivalent televisions would not allow viewers to start a showing after the start time.

The Apartment was the most nominated and awarded film of the night at the 33rd Academy Awards. And while the actors missed out on wins at the Oscars, they were thankfully recognized previously at the Golden Globes and the BAFTAs. Psycho's one major award for the season came from the Golden Globes for Janet Leigh.

Psycho was not named as a Top 10 Film by the National Board of Review in 1960, but has been recognized alongside The Apartment in many other, more recent lists.

Unofficial Review: I enjoyed both very much, but I still prefer The Apartment. This should not, however, dismiss the impact Psycho had on film!

[kickmag]

R.I.P Ellen Holly

Ellen Holly, the first Black soap opera star, has died at age 92. Holly changed television with her role on the daytime soap One Life To Live. The New York City native came from a family of achievers; her paternal great-grandmother, Susan Smith McKinney Steward, was the first African-American woman to earn a medical doctorate in New York and the third in the country. Her great-aunt, Minsarah Smith Thompson, was the first Black woman principal of a New York City school. She was a graduate of Hunter College and had pledged to the Delta Theta Sigma Sorority Inc. while she was there.

Holly started her acting career in New York City and Boston. She made her Broadway debut in Too Late the Phalarope in 1956 and went on to have starring roles in other Broadway productions, including Face Of A Hero, Tiger Tiger Burning Bright, and A Hand Is On The Gate. From the late '50s until the early '70s, she led several Joseph Papp New York Shakespeare Festival Productions. During this time, she worked with prominent actors of the day, such as Roscoe Lee Browne, James Earl Jones, Jack Lemmon, Barry Sullivan, and Cicely Tyson. Holly also studied with dance pioneer Katherine Dunham and discovered her passion for dance and its richness within African-American culture. 

Holly's first television roles were in The Big Story, The Defenders, Sam Benedict, Dr Kildare, and The Doctors and the Nurses. She took on the groundbreaking role of Carla Gray on ABC's One Life To Live from 1968 until 1980 and from 1983 to 1985. Television producer Agnes Nixon handpicked her for the role after reading an opinion piece Holly wrote for the New York Times titled, How Black Do You Have To Be," which aired her challenges finding work as a light-skinned Black woman. It was the first time a Black person starred in a soap opera, and Holly was written about in the pages of Ebony, Soap Opera Digest, TV Guide, and the New York Times. Her moment led to stories about Black life on All My Children and General Hospital. Holly made history with her high-profile role, but she later revealed that she and others like her still encountered racism when it came to their pay and other forms of disrespect. 

In the late '80s, she had a recurring role as a judge on The Guiding Light. She also appeared on the television shows In The Heat Of The Night and the made-for-TV movie 10,000 Black Men Named George alongside Andre Braugher and Marion Van Pebbles. Holly was a regular contributor to the New York Times, and her autobiography, One Life: The Autobiography of an African-American Actress, was published in 1996. She also became a librarian before the decade was over. 

Holly wanted family, friends, and fans to make donations to The Obama Presidential Center or St. Jude Children's Research Hospital in lieu of a funeral. 

[citizenscreen]

Betsy Blair and Jack Lemmon in the 1960 stage production “Face of a Hero.”

[kwebtv]

Piper Laurie (born Rosetta Jacobs; January 22, 1932 – October 14, 2023) Film and television actress. She is known for her roles in the films The Hustler (1961), Carrie (1976), and Children of a Lesser God (1986), and the miniseries The Thorn Birds (1983).

She received various accolades, including a Primetime Emmy Award and a Golden Globe Award, in addition to nominations for three Academy Awards and a BAFTA Award. She is also known for her performances as Kirsten Arnesen in the original TV production of Days of Wine and Roses, and as Catherine Martell in the television series Twin Peaks.

During the early 1950's she appeared predominantly in film but later moved to New York to study acting and seek stage and television work. She appeared in Twelfth Night, produced by Hallmark Hall of Fame; in Days of Wine and Roses with Cliff Robertson, presented by Playhouse 90 on October 2, 1958[16] (in the film version, their roles were taken over by Jack Lemmon and Lee Remick); and in Winterset, presented by Playhouse 90 in 1959.

in the 1990's she made guest appearances on television shows such as Frasier, Matlock, State of Grace, and Will & Grace. Laurie also appeared in Cold Case and in a 2001 episode of Law & Order: Special Victims Unit titled "Care", in which she played an adoptive mother and foster grandmother who killed one of the foster granddaughters in her daughter's charge and who abused her adoptive son and foster grandchildren. (Wikipedia)

IMDb Listing

[70s80sandbeyond]

Jack Lemmon, Natalie Wood, Tony Curtis on location in Paris during production of Blake Edwards’s The Great Race (1965)

[thegnasticious]

Games of the Future

So I’ve played/assisted various game productions/companies, the first memorable dissolution I can recall was when Midway went under so many years ago. Shuttering its Chicago office and assets, into various projects that were to take place down the line. In a way they discovered something, and subsequently resold it and retired the former staff, or that is, most of them. Midway was a proprietor of rag doll physics, its early racing game ‘Rush’ featured these assets put on overdrive (in regards to cars with spastic turbo). Subsequently it was more joke than game, but though it was ‘pointless’ it would suck your attention in, and albeit in a childish way, provide a momentary sense of comedy. That in its basis, became the proprietary want of the games of the next twenty years. But few fulfilled that purpose after, what I think happened was earlier reference by a David Bowie with his ‘Nomad’ project; actually entitled omnikron was meant to be an exploratory simulation. What really occurred after this ‘exploration’ is still being discovered in development today; details and assets, even updates, coming from an unknown third party who sometimes is more ahead of the proprietary company itself. How does this work? Well let’s say one member of Midway suspected the coming dissolution. Let’s say one member of a team didn’t quite want to retire when he/she was told to. What I’m telling you, is Midway just switched its name. Sold the assets, then resold them after a setup merger/dissolution.

‘What does this have to do with games of the future?’ You might ask,

And my response,

Is everything.

Midway as a company over saw its development as well as distribution. This was also in an age where most up-and-coming tech was almost always coming from the city. But ironically, even during this time you could still have various offices out in the country doing let’s say an individual game development for a short time-span based clientele. This meant in lamen’s the industry, when it was in its infancy, foresaw a point to need more than just programming, like television in its prime, people wanted to see it change right before their eyes, and have it be about them, without point a finger or identifying. This in itself is a very difficult art and requires at minimum a team of people usually in the same space who are available 24/7. This type of team/agency is hard to come by nowadays, maybe arguably nonexistent given limitations of resources and labor.

But how do you make it right without that? Can you truly automate a feeling or response, or is their something more to another human let’s say ‘entertaining’ another. How do we reach out to each other. How do I make people feel the feelings I do and think when I look at Gene Wilder in movies. How do I reach out to people, without touching them?

We all want to feel. We all want to talk to eachother, and more importantly we (or most people do not enjoy being an imposition on others) the problem I’m getting at, is when the entertainment has gone bad, so is the project. When the writer’s no longer want to guide their audience to happy places, or transcendental revelations, it tends to feel like all you watching on that particular screen or television is someone else’s feelings. And it can be entertaining, for a while, but it almost always hits a part where you see the human side of them. This is in the glare of Hepburn, the loom of Humphrey Bogart, the momentary hiccups and startles of Monroe, and most importantly the smile of Jack Lemmon. What I’m saying in this regard, is we are not looking for the characters, or their struggle, what we need is a friend and the last thing you need then, is an actor and not a person. This is why the true actor is a mix of both, in tandem, speaking sometimes with expressions as much as their words. I’d like to call this, speaking with your eyes.

The man who likely left midway, not to retire, brings up a funny movie I feel a lot. Which is called ‘Ace in the Hole’. This was a Billy Wilder movie, that is about an unfortunate somewho who somehow who gets stuck in a cave-in in mine tunnels, after trying to retrieve an Indian artifact from a burial. The movie plays out that the people ‘rescuing’ the man actually draw his retrieval out so far, that he doesn’t quite escape his peril in the end. It is a troubling movie that holds your attention, and in the end leaves the viewer feeling empty and moral-less without being an outright filthy, or let’s say scummy movie. The overall moral is debatable, as even when the character in peril wishes to give up the relic which caused the cave-in, the characters around him start answering more to the relic than him. This is voiced as a civil complacency; the newscast was getting more and more money as the drills above would cause small cave-ins. Had they waited, and sent in a specialized team they could have recovered the artifact and the man, but instead they rush with drills causing his, pretty predictable death. What I found to be a very well-acted/and relatably scary scene was when the trapped man starts speaking of hearing Indian drums at night, but not knowing if they were the drills or something trapping him down there…. Troubling for sure.

How this relates to Midway’s proverbial marathon man is that was likely much how he felt with his company and livelihood dissolving, but not quite wanting to leave the job; it was what he knew, it was what he identified with. What he was afraid of in my opinion, was not a proverbial ghost of midway (because that would be him) what he was afraid of, was doing nothing, being alone. Being trapped by some invisible curse, you know is sooner or later gonna bring that whole mine down right on your head. Yet again and again, all the people around keep on drilling, even when you know they are going to crack through to the other side at some point. And what do you do then?

At that moment, my friend, is when you play the real video game; life. And it’s no simulation, proving it will just make you look crazy.

This goes to show, that some puzzles are simply solved by just not getting lost in them; by turning a Rubik’s cube with intent but not judgement; by looking at an optical illusion with unstrained eyes, is sometimes the solution.

That’s why games of the future, will have the aspect of challenge from the past, with an integration of live socialization of the future. But this won’t be provided by teams, but people interacting with other real people in the game, possibly affecting their ‘real’ life’s. The teams will be the players themselves, the coding will be the reaction to the assets. But how do far do you go with this? In terms of definition, the clearest image is more a reaction than visualization. What does this mean? This means you are formulating the scene you digesting. This also means that yes, most of the credits is a cover-up for your feelings. Feel good doesn’t it?

Didn’t think so.

So back to this guy in this hole, stuck with all those Indian relics. Is there any way in the probability of relativity, that he ever could have gotten out? Or is he destined to die continually with that treasure, not seeing that if he just didn’t want it, he’d be fine. The greater question is why is he willing to die over someone else’s stuff (that was clearly buried with them to not be sold at Toys R’ Us, but as a way to find peace in the afterlife). Try explaining this to the guy who tattooed ‘pave paradise and put in a parking lot’ on his ass.

So what would I like to see in the ‘game of the future’. Socialization, outlets for help from isolationism, maybe even a little mental health support (but not unadulterated excuses for surveillance). Things that will help an individual and not contain or control them like the ‘Der Schlossens’ still lingering from the past. I picture a day where somebody might meet their next companion/interest from a digital environment, and in my opinion, that was likely an outcome that even someone like Bowie would have permitted as an ending. There is no better ending for a simulation or coding based lifestyle, than life itself.

‘To go out and get dirty,

don’t fear what you don’t know,

and try to talk with those who you would usually disagree with.

All the games in the planet have one sole inspiration,

and that’s life.’

Even in procedural coding lies a bit of the unknown, or what we can’t see. And in a way that’s a momentary magic of it, to look at it not as a simulation, but a brief spark of life