This was my second time doing the red carpet event on opening night of the TCM Classic Film Festival. Why was a silent film accompanist invited to walk down the red carpet? Who knows? It was part of the invite… Read More »Called On The (Red) Carpet
There is a warning that appears at the beginning of many Scott Joplin piano rags. I remember seeing this in high school when I was learning a lot of the pieces. It is a note from the composer himself, admonishing… Read More »When A Loveseat Is Not a Sofa
Some years ago, I made a project of deconstructing Buster Keaton’s The Goat (1921) in a series of undercranking studies that I posted to YouTube. In one of the segments, I’d pointed out a moment where an elision of time… Read More »Beating Someone To the Punch With an Edit
Ernie Kovacs must have had an inkling that his viewership on the half-hour comedy-variety show he did late mornings on NBC in 1955-1956 would include children. Why else would a puppet show have been a staple of the program’s regular… Read More »Kovacs and Kapusta Puppets by Larry Berthelson
Recording a New Piano Soundtrack for The Bride’s Play starring Marion Davies, Aided by a Live Show Experience The hardest part of creating a silent film score for DVD/Blu-ray release is that you’re composing-improvising-performing the score in a vacuum. You’re… Read More »Scoring a Silent Film in a Vacuum
There was no one way all film was accompanied musically during the silent film era. There was a range. A wide range. Everything from a solo upright to a full symphony. Everything from fully written-out composed scores published, disseminated, rehearsed… Read More »Improvising A Silent Film Score: Now, and Then
Every once in a while, I’ll hear or be told about some new amazing silent film discovery being shown at some festivals I don’t get to play at. It happens, I would imagine, with some of my colleagues, as well… Read More »Scoring Something Good
One of the bits of restoration work that went into The Alice Howell Collection DVD set was creating new main titles and credits for some of the films. Where possible. And that happened in varying degrees, depending on the studio.… Read More »Will the Real Reelcraft Main Title Please Stand Up?
Ernie Kovacs made a point of bringing make-up artist George Fiala out on camera in what may his only TV appearance. It was not to show Fiala off or pay tribute to his craft, but as a reassuring gesture a… Read More »George Fiala — Make-up Artist for Uncle Gruesome, Soaps, Santa and Soupy
I’ve seen Mabel Normand referred to as being a female Chaplin, in articles from the silent era and in contemporary references. I was intrigued to find similar analogies drawn between Mr. Chaplin and Alice Howell during the silent film era,… Read More »Not One, But TWO “Female Chaplins”