McAlvie starts us off.
I hate it when they colorize original b&w movies, because something I can't put my finger on what gets lost. I think its because they actually used the "limitations" of b&w film somehow, and that something gets lost in translation; but I don't pretend to understand the technicalities. Not that you were around then, Ken, but you know the industry, and the people. I would enjoy getting an insiders take on this.
A lot has to do with the lighting. Those movies were lit specifically for black and white. The shadows and contrasts were carefully constructed to evoke moods. All of that gets obliterated when B&W films are colorized.
And then of course is the technical issue that the skin tones and colors in general still look weird.
The only time I will watch a colorized show is when CBS shows “new” versions of THE DICK VAN DYKE SHOW. And they’re always creepy.
Dave Wrighteous asks:
Since Hollywood is always crying poor, and since streaming technology has gotten so good, why don't Hollywood studios offer an "on demand" version of their catalog's? Think of it as a "movie jukebox". The studios would make bank on films they already paid for/made theatrical dough on, and struggling theaters could show say, Raiders of the Lost Ark on a Friday night and pack the house (that'd probably make more $ than the newest crappy, unfunny rom-com). Win/win, am I right?!?
The real reason Disney wants to buy 20th Century Fox is to get their film library. Studios realize that to make money in this streaming age they need content. I expect all kinds of On Demand and pay walls to sprout up.
But to re-release some of them theatrically would not be feasible. The target moviegoer is in his or her early 20’s and will opt for the newest crappy unfunny romcom. And quite frankly, I understand that. They’d rather see movies made for them.
From Bryan Price:
Ken - I was curious about your baseball announcing in the minors. Seems like it took you a couple of years prior in the stands at Dodger Stadium and then but a few in the minors before you were hired by the Orioles. I'm guessing that is considered a fast route? How did you do it?
LUCK. I was told major league teams preferred to hear major league game audition tapes so after my third season in the minors (which ended on Labor Day) I went to Anaheim Stadium to record a demo. There I met Jon Miller who was calling Orioles games. I gave him a tape and asked if he would graciously critique it.
A couple of months later he called to say that he loved the tape and that the Orioles had an opening and suggested I apply. I did and amazingly got the job. So a lot of things had to fall into place. Of course it also helped that by that time I had had 20 years of radio experience in major markets. So even though I had only done baseball for three years I was already a very polished broadcaster.
But experience and talent without luck will only get you so far. I was verrrrry fortunate.
And James wonders:
In the past you complained about how difficult it could be to write the teasers for Cheers. How difficult was it writing the silent piece that played under the closing theme and credits to Frasier? I often thought those were very clever and often the best part of the episode.
Thanks. Those tags were way easier to write than teasers because we had something to draw from. The tags always related to something that happened in the episode. They weren’t free floating. Plus, they were only 30 seconds and silent.
Some were harder than others but for the most part they were fairly easy to come up with.
What’s your Friday Question? Please leave it in the comments section. Muchas gracias.
from By Ken Levine
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