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Episode 69 show notes: The Silent Film Music Podcast

Episode 69 Show Notes: Back to Charlie Chaplin and Harold Lloyd

  • Opening chit-chat about the weather.
  • Ben will be playing at the Museum Of Modern Art for BERLIN: SYMPHONY OF A GREAT CITY (1927), planned for an outdoor venue. In Episode 70, we’ll be discussing his accompanying this as well as the flapper epic SAXOPHON-SUSI (1928).
  • Ben thanks listeners for buying copies of his book THE SILENT FILM UNIVERSE
  • Readers are enjoying the informal, conversational style, which spurs thoughts of a format for an audiobook adaptation.
  • Besides screenings of comedies, summer is for recording scores, including for REDISCOVERING ROSCOE, the currently-in-production Roscoe “Fatty” Arbuckle Blu-ray set of films and THE CARDBOARD LOVER (1928) starring Marion Davies.
  • Discussion of development of audiences for regular screenings of silent films, and the importance of live performance in increasing audience loyalty. One audience member even posits that the presence of a live performer makes it less likely that people will talk during a show.
  • One of his recent shows was at Adirondack State Theater at Tupper Lake, which presents classic films in the summer.
  • Ben also played at the Strand in Schroon Lake, and at the Lenfest Center for the Arts at Columbia University, where he accompanied THE KID (1921) by Charlie Chaplin for an audience with a large proportion of young children, as can be heard in the recording. Ben and Kerr talk about the universality of silent film comedy.
  • Ben discusses assistance he has received from the Chaplin Estate, including permitting the use of clips from “A Dog’s Life” which illustrates how undercranking works in a web-based supplement to The Silent Film Universe, and permitting the showing of “How To Make Movies” on The Silent Comedy Watch Party.
  • Ben played for THE FRESHMAN (1925) at the Hewlett-Woodmere Library. Ben analyzes Harold Lloyd’s acting skills and the use of sympathy in story development. He talks about accompanying the interior emotional threads of the film, rather than literally illustrating the action seen on screen. The clip reflects the varying moods and modes of the film.
  • Ben responds to an audience question about how much time he practices. The truth is that he really doesn’t practice, largely because (1) practicing doesn’t make the show go better; (2) there is a question of just what Ben would practice, because his performance depends on the audience’s response to the film; and (3) Ben is just way too busy with all of his different hats, including distributor and restoration supervisor. (Ben discusses practicing in unusual keys and meters to freshen his ideas.)
  • Ben talks about creating scores for the Milestone Films package from Kino-Lorber, Made In New Jersey, which illustrates the history of filmmaking in Fort Lee, NJ.
  • Ben talks about the benefits of attending Capitolfest in Rome, NY.
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