The Kid Stays in the Picture: A Notorious Life by Robert Evans

Author:Robert Evans [Evans, Robert]
Language: eng
Format: mobi, azw3, epub
Tags: Biography & Autobiography, Personal Memoirs, Entertainment & Performing Arts
ISBN: 9781597775250
Google: 8VCCbuBuQ0AC
Publisher: Phoenix Books, Inc.
Published: 1994-01-01T11:00:00+00:00

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Post-production began. From day one, the battles started. The conflict between Francis and me became so bitter that even Bluhdorn’s persuasive mediation abilities were all but ineffective.

Post-production may sound like a technical word, but in actuality, it’s the most important element in the anatomy of filmmaking. It’s an art form unto itself that structures the arc of your story. Film, dialogue, sound, music, and effects are its five major tentacles. During the post-production process, each of these is structured and edited separately by highly talented artists, whose contribution is rarely appreciated or spoken of. Frame by frame with precision and skill, your canvas evolves its persona. Post-production is the key to film magic or film mediocrity. From it comes your completed canvas, which is presented for all the world to see and critique.

Whether it be the cinematography, writing, directing, or (for that matter) performances, all become pawns to those who control the magic of post-production.

“Dailies” is the operative word for time spent by the producer, director, cinematographer, actors (if they wish), and various department heads to examine and cull out the best of the previous day’s filming. The director, being the captain of the ship, picks out his choices for the editor to assemble. With rare exception, the day-to-day viewing of dailies is a high—euphoric at times. Within a month after completion of principal photography, you are faced with an assemblage, and there for the first time you see the sum of all the film’s parts as one. Without exception, your dream turns into a nightmare. The euphoria of watching the dailies abruptly turns to thoughts of suicide.

My first acting stint on film was opposite Jimmy Cagney. Day after day, the director, producer, cast, and crew would watch the dailies together. It was a new experience for me, watching everyone’s enthusiasm for what had just been shot. What a high! I couldn’t help but notice that Cagney was expressionless. Curiosity pressed.

“Mr. Cagney, pardon me for asking. We’ve all been watching dailies together for the past week. Me, I’ve been watching you. Everyone seems to be on cloud ten but you. Don’t you like ’em?”

“You’re new in this racket, kid. Dailies are like brides. How come there’s so many beautiful brides . . . and ugly wives?” A Cagney wink, and off he strutted.

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