Harold Lloyd dangling from the hands of a clock on the side of a building is arguably the most famous single image from the silent-film era. The movie in which that scene appears, Safety Last, was made in 1923 and is being screened Sunday at 2pm at the Academy Museum, with a 27-piece orchestra playing the late Carl Davis’s original score. Leonard and Jessie are delighted to welcome back Suzanne Lloyd, who was raised by her grandfather and grandmother, and her longtime friend Rich Correll, who as a teenager began the process of preserving Harold Lloyd’s film collection. We owe them both a debt of thanks for keeping these movies safe for current and future generations to enjoy.
Gifted and versatile are two adjectives that describe the women responsible for creating costumes for Netflix’s Emily in Paris (Marylin Fitoussi, who spoke to us from Paris), Queen Charlotte (Lyn Paolo and Laura Frecon) and the esteemed Colleen Atwood (Wednesday), who with this show continues her long partnership with filmmaker Tim Burton.
Several contributors to the Netflix series Guillermo del Toro’s Cabinet of Curiosities discuss their collaboration: prosthetic makeup designers Sean Sansom and Mike Hill, production designer Tamara Deverell, and cinematographer Anastas Michos.
Two talented women talk about working on the long-running Netflix series The Crown: costume designer Amy Roberts and hair and makeup specialist Cate Hall. How does the challenge of replicating well-known figures from recent history affect their approach? Listen and find out.
Today we talk to some of the talented people who worked on the Netflix series Beef: costume designer Helen Huang, casting directors Charlene Lee and Claire Koonce, and editors Laura Zempel and Nat Fuller. You don’t have to be familiar with the show to enjoy hearing them describe their work and the passion they bring to each new project.
Alan Silvestri’s credits as a film composer are a bit overwhelming: Forrest Gump, Who Framed Roger Rabbit, The Abyss, The Avengers, and on and on. He has just hatched his first Broadway show, a musical version of Back to the Future that will soon open in London as well. And when John Williams was unable to compose the music for Steven Spielberg’s Ready Player One, Alan was the one chosen to fill his shoes. (It’s a great story…) Leonard and Jessie knew this would be an exceptional interview because Alan and Leonard share a history: they graduated from high school in the same class!