Marcus starts us off:
Did Crystal Bernard actually play the cello on Wings? If so, did she learn it for the show or know how to beforehand?
No, she didn’t play the cello. But she was a terrific singer and I think had some hit songs on the country charts. She also starred on Broadway in ANNIE GET YOUR GUN at one time. Crystal is immensely talented but alas not a cellist.
B Smith wonders:
I was watching an episode of MASH last night (for the zillionth time) and as those two choppers came in during the opening titles, it occurred to me that there had never been an episode that actually featured two helicopters. Presumably the expense dictated just using one, but am I right?
We might have used some stock footage of two helicopters if there was a big triage, but we never landed two choppers on that chopper pad. Certainly the expense was a factor, but also if we had to land two helicopters we could use stock footage and cut to when they landed and establish through camera angles and different people on the choppers.
One other factor: When we went out to the ranch to film the exteriors we would get one day per episode. And we would shoot 8 ½ pages. Trust me, that’s an insane amount for one day. So the less complicated we could make things for everybody, the better. One helicopter more than sufficed on most occasions.
From Breadbaker:
I was watching Cheers, Season 1, Episode 7, Friends, Romans, Accountants, an episode written by you and David, of course. In the episode, the bar was filled with accountants as extras, nearly all of whom never said a word. At the end of the episode, when they're hoisting Norm for having told off the boss, the band is playing "For He's a Jolly Good Fellow", but no one is singing, which honestly feels unnatural. Was this because if the extras opened their mouths they'd be paid more and that would blow the budget? I imagine in Season One of Cheers, it was difficult enough to get that many extras into an episode, as the show was hardly a hit.
Here’s why: That wasn’t supposed to be the ending. Norm’s toga was supposed to catch on the door as they hoisted him out and it would remain as he went up the stairs supposedly naked. But we couldn’t get the trick to work. So what you saw and heard was a patched together ending. We added the band playing “For He’s a Jolly Good Fellow” in post production. There’s even a stock shot of Boston at night to kill a few seconds and button the scene.
Some things work, some things don’t.
That’s Baseball, Suzyn.
And finally, from Vincent Saia:
When (Robert Pirosh) and George Seaton were working on A DAY AT THE RACES they took the script out and performed it a theater in front of live audiences, as was A NIGHT AT THE OPERA (which Pirosh and Seaton wrote an early non-used draft for). Monty Python also did that with their sketches. Would you like to see that done for comedy movies and sitcoms?
Multi-camera sitcoms essentially do that, performing in front of a live studio audience.
Here’s the problem with movies: you want your movie to be visual, to take advantage of locations, and perhaps have scenes with large crowds. You can’t really recreate that in a theatre.
There often is a rehearsal period before a movie is shot, but that usually just involves the director and actors.
Monty Python primarily did sketches so it was easy to include them in their stage act. Unless your comedy is just a string of set pieces I don’t think a theatre audience would be of much help.
But what they do do in movies is test screenings – see what the audience thinks after they see the film. And often the film will be re-edited or even new scenes shot based on the audience feedback.
What’s your Friday Question? Please leave it in the comments section. Thanks.
from By Ken Levine
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