A new set now up here: FRIDAY NIGHT BOYS: FRIDAY NIGHT BOY COOL #460 ... and it includes... John Wayne not getting along at all with Laurence Harvey and Richard Widmark... The Life Aquatic with Albert Finney
Here's a great shot of Cecil B. DeMille and one of the massive VistaVision cameras used to shoot The Ten Commandments... (This is courtesy of historian John Wells on Facebook.)
Is it possible that Hitch left the filming of the phone booth to the second unit??? Don't see him at all
On the set of The Ugly American (1963), from left: cinematographer Clifford Stine, director George Englund, Marlon Brando and Sandra Church
Here's an amazing shot of Jerry Lewis on the set of The Errand Boy at the old Paramount Ranch in Malibu, circa 1961. Note the large VistaVision blimp on the camera... (Picture courtesy Richard Van Dyke on Facebook.)
Here's a behind-the-scenes shot I can't remember seeing from the original Dick Van Dyke Show: (Courtesy of my pal & TV historian Randy West of Facebook)
Another group posted today: FRIDAY NIGHT BOYS: FRIDAY NIGHT BOY COOL #464 And here's a selection of five:
1. Christopher Reeves visits the Bond set 2. Looks like some sort of group interview for the cast of Breaker Morant (a really good film) 3. An Aardman animations set 4. Ingmar Bergman visits Death 5. Jack and Michael kick back during the making of Cuckoo's Nest
Production designer Boris Leven With James Dean on Giant With his design for the balcony scene in West Side Story
And here's a famous shot we saw every week on the early 1960s' Donna Reed Show, showing the star at the foot of the staircase on the set of her house. I'm guessing this was about 1960-1961. Note the soft scrim on the fill light to the left of camera, and a softbox above Ms. Reed's head. Nowadays, I would bet there would be fewer hard lights (like the Mole-Richardsons pictured) on a show like this. I believe the large man is cinematographer Gert Anderson (who did hundreds of TV shows during this period), and that's a Mitchell BNC 35mm film camera they're using; the reflex version, the BNCR, didn't come out until a few years later, so they lined up and composed shots with a rangefinder on the side of the camera. Also note the Fisher boom and RCA mic above the actress' head: when the scene started, it would be lowered much closer in order to pick up her voice, but just out of camera range. (Photo courtesy of noted Hollywood historian Randy West from Facebook.)