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Topic: Rick Schmidlin

	Rick Schmidlin - Wikipedia, the free encyclopedia
		Rick Schmidlin is a producer / director / silent film scholar, born in 1954 in Paterson, New Jersey, whose work has focused on restorations, reconstructions and documentaries.
		Schmidlin's only writing credit was for a short story on which, Love Her Madly (a 2000 independent film) was based.
		In 1999, Rick Schmidlin, Roger Mayer and Turner Classic Movies were given a "Special Award" by the Los Angeles Film Critics Association for "their meticulous reconstruction and promotion of Eric von Stroheim's Greed."
	en.wikipedia.org /wiki/Rick_Schmidlin (304 words)

	[No title] (Site not responding. Last check: 2007-10-11)
		RICK SCHMIDLIN: And today, no studio would hire Jonathan to run things. He’s intelligent, analytical and bright, but no studio would hire him. So my fantasy was that Jonathan was the studio’s watchdog, and Walter Murch was watching out for Welles.
		RICK SCHMIDLIN: Yes, but look what they did to OTHELLO (The sound was re-dubbed to make the lip-sync match closer, and the score was re-recorded in stereo—but unlike TOUCH OF EVIL, OTHELLO was one of the few films Welles directed where he retained complete control over the final version).
		RICK SCHMIDLIN: It’s 111 minutes, but that’s because of the new credits at the end. With the scenes we deleted, it’s a little shorter than the 108 minute version. We also combined different shots from the short version that weren’t in t
	www2.uol.com.br /mostra/25/portug/imprensa/nova_sessao_a_marca_da_maldade.doc (1377 words)

	Salt Lake City Weekly arts & entertainment - Leaving Las Vegas, by Scott Rivers - January 18, 2001
		Filmmaker Rick Schmidlin, whose previous efforts include the historic reconstructions of Orson Welles’; Touch of Evil (1958) and Erich von Stroheim’s Greed (1924), was commissioned to produce a re-cut and re-mixed version of the Presley documentary.
		Presley’s rapport with his fellow musicians was another aspect Schmidlin emphasized in the re-edit—acknowledging the contributions of band members such as lead guitarist James Burton, drummer Ronnie Tutt and pianist Glen D. Hardin.
		Schmidlin believes Elvis took charge of the direction whenever he was filmed.
	www.slweekly.com /editorial/2001/arts_010118.cfm (1091 words)

	That's The Way It Is
		Schmidlin's project to revise the 1970 movie was commissioned by Turner Entertainment Co. The original was released the same year and in the same vein as Woodstock.
		Schmidlin is a producer and filmmaker best known as producer of a re-edited version of the 1958 Orson Welles film Touch of Evil and for the documentary The Doors: Live at the Hollywood Bowl.
		Schmidlin suggests that a close parallel to Elvis and his interaction with audiences is Mozart, who composed for the court and, like Elvis, received immediate and decisive feedback from live audiences.
	girlsguidetoelvis.com /thatswayitis.html (2922 words)

	[No title]
		Rick Schmidlin is an award-winning filmmaker and producer.
		Rick Schmidlin: I thought it was a good project to do to show Elvis through his own spirit, not through an interpretation of someone trying to tell you who he was.
		Schmidlin: Well, that was, you know, Friedkin wanting to show that he had directed a masterpiece, so people would remember him for that and not for some of his latter films.
	www.widescreenreview.com /articles/elvis.htm (2168 words)

	The Sounds of Evil
		In 1997, producer Rick Schmidlin (The Third Mind, The Doors Live at the Hollywood Bowl, Soft Parade) began producing a re-release of Touch of Evil that was to be edited in strict adherence to Welles' wishes.
		Schmidlin read some excerpts from Welles' sound notes to me, opening a door into film history and exposing more than a touch of the director's then-revolutionary thinking.
		Murch accepted Schmidlin's offer to edit both picture and sound for the re-release, eager for the opportunity to work so closely with the directions of the legendary Welles, particularly given the match in their sound track aesthetics.
	www.filmsound.org /murch/evil (2462 words)

	Touch of Evil . Weekly Alibi . 11-16-98
		Rick Schmidlin, producer of 1998's newly restored version of Touch of Evil, explains: "What happened was Welles was taking a long, tedious time (to edit Touch of Evil).
		That was the case until producer Rick Schmidlin (whose eclectic résumé includes a gig as the curator/archivist for the vast film and video library of the legendary rock band, The Doors) came on to the scene.
		Schmidlin found his man in the form of Oscar-winning splicer Walter Murch.
	www.filmvault.com /filmvault/alibi/t/touchofevil1.html (974 words)

	greed
		Rick Schmidlin, who spearheaded the restoration of Orson Welles' Touch of Evil last year, rose to the challenge of rediscovering von Stroheim's maligned masterpiece.
		Schmidlin has seen his restoration effort as a search for "the Holy Grail of cinema." In his cinematic excavation, Schmidlin has unearthed lost characters and forgotten plot points, adhering to a 330-page shooting script and sorting through mountains of photographic evidence.
		Schmidlin has remained true to the director's vision; tinted stills are dazzling, a shock of color and love in a cold fl-and-white world.
	alt.tcm.turner.com /MONTH_SPOTS/99/12/greed.htm (1930 words)

	Restored 1924 Classic `Greed' To Show on TV
		The project was the brainchild of Rick Schmidlin, a documentary filmmaker whose restoration of Orson Welles' ``Touch of Evil'' made a splash last year.
		Schmidlin put together the new ``Greed'' by using techniques that Ken Burns (``The Civil War'') routinely employs in his documentaries.
		Schmidlin's goal was to reconstruct the film in such a way that ``when you wake up the next day, you know you saw the whole story but don't remember what scenes were stills and what was live action.''
	www.sfgate.com /cgi-bin/article.cgi?file=/chronicle/archive/1999/11/30/DD26941.DTL (749 words)

	DVDFILE.COM: Press Release Archive
		Produced by award-winning filmmaker Rick Schmidlin (Touch of Evil, Greed, Doors: Live at the Hollywood Bowl) and his team, the special edition includes close-ups of Presley's famous footwork and guitar work, cut-aways of the band, never-before-seen footage including ten musical numbers, and Elvis' off-stage antics.
		Both the VHS and DVD versions contain the original theatrical trailer and a new documentary "Patch It Up: The Reconstruction of Elvis: That's the Way It Is." The featurette chronicles the work of distinguished film restoration specialist Rick Schmidlin as he re-edits the film using never-before-seen footage.
		Schmidlin conducted an exhaustive five-month search for all existing film negatives, work prints and corresponding audio masters, producing up to four additional hours of usable footage, some of which was culled from individual scraps as short as a few seconds.
	www.dvdfile.com /news/web_wire/press_release/titles/elvis_thatsthewayitis.html (659 words)

	On the Tube: TCM does an admirable job of restoring a dark classic from the '20s
		Rick Schmidlin, who recut Orson Welles' "Touch of Evil" last year, restoring that film to the director's original concept, took on a much bigger task for Turner Classic Movies.
		Schmidlin is a historian as well as a filmmaker.
		Using von Stroheim's shooting script, Schmidlin weaves the stills with the remaining film to come up with a four-hour reconstruction.
	www.post-gazette.com /TV/19991203greed1.asp (1092 words)

	Chicago Reader Movie Review
		According to Rick Schmidlin, who produced this version on video, "This will be the single largest premiere of a silent film in the history of cinema." (The largest, that is, in terms of audience size, not screen size.
		I was also asked by Schmidlin to be the consultant on this new version of Greed, an offer he made in part because of my short book about Greed published in the BFI Film Classics series in 1993.
		But Schmidlin's work can allow us to use our imaginations to construct what might have been, an inconclusive activity and, for precisely that reason, an exciting prospect—because it requires our creativity and not simply our desire to take in a great movie and then be done with it.
	www.chicagoreader.com /movies/archives/1999/1199/991126.html (3976 words)

	Touch of Evil - Wikipedia, the free encyclopedia
		Notable changes include the removal of the credits and music from the 3-minute opening shot, quicker intercutting between the main story and Janet Leigh's subplot, the removal of Harry Keller's scenes and the addition of around 15 minutes of footage from a preview version found in the mid-70s.
		The 1998 version was produced by Rick Schmidlin and edited by Walter Murch.
		It had a limited but successful theatrical release (again by Universal International) and was subsequently made available on DVD.
	en.wikipedia.org /wiki/Touch_of_Evil (2387 words)

	The Official Site of Ray Manzarek - Love Her Madly (Site not responding. Last check: 2007-10-11)
		Rick Valentine was graduated from Pomona College in Claremont, CA with a BA in Philosophy, for which he wrote his departmental dissertation on Film Art as Experience.
		Rick’s fascination with the film, however, began when he first saw it in his freshman year at college.
		The multi-talented Rick Schmidlin was guest curator of an exhibit, 100 Years of Cinema at Scranton, Pennsylvania’s Everhart Museum.
	raymanzarek.thedoors.com /madlybios.html (1333 words)

	Greed Reconstruction (Site not responding. Last check: 2007-10-11)
		Schmidlin, the man initially responsible for last year's critically acclaimed makeover of Orson Welles's "Touch of Evil," has done some restorative magic on "Greed." The reconstructed film, with an extra 45 minutes of material, will have its premiere on TCM, the Turner Classic Movies network, on Dec. 5.
		Schmidlin and Glenn Morgan, the editor, have come up with an effective technique for making the stills "play." Their cuts blend with the filmed footage and are imbued with a sense of motion through panning, close-ups and the use of special effects like irising and colorization.
		Schmidlin will tint the reconstruction to the director's specifications, using computers to simulate the process that would have been used at the time.
	www.welcometosilentmovies.com /features/greed/recon/nyt.htm (1558 words)

	CNN.com - Transcripts
		RICK SCHMIDLIN, PRODUCER, "ELVIS: THAT'S THE WAY IT IS": I'm happy to be here this morning.
		SCHMIDLIN: Well, it makes it compelling because when you see him with Ann-Margaret, and you see the duet, and the whole thing is odd, people don't realize it, they were very close at that time, and you see the wonderful performance with them.
		SCHMIDLIN: He wanted to be an actor more than anything else, and in his early films, like "King Creole" and stuff, you see that he wanted to be a great actor, and that's why he got into film.
	edition.cnn.com /TRANSCRIPTS/0208/16/lt.06.html (710 words)

	Making "Love Her Madly"
		Rick Schmidlin, best known for his re-edited revivals of Orson Welles’ Touch of Evil and Erich Von Stroheim’s Greed, was also producer of Ray’s documentary films.
		For many years he was Orson Welles’ cameraman and was responsible for shooting F Is For Fake and The Other Side of the Wind as well as some of the infamous Paul Masson wine commercials.
		Gary and I were concerned that so much material was shot without any confirmation that everything fit together properly and we urged Rick to make conformation of dailies a higher priority.
	www.productionrecording.com /production/LoveHerMadly.html (1619 words)

	Elvis - That's The Way it Is - Elvis Presley DVD
		Schmidlin has ingeniously interweaved old footage, new footage, added in old footage shot from different camera angles and in some instances literally spliced together some sections frame by frame and has created a true masterpiece.
		Schmidlin has truly captured the soul of Elvis Presley the man and performer - prior to this production many have tried to accomplish this but have failed.
		One realizes while viewing this film that Elvis, during this period of his life, was completely in charge when it came to the arrangements of his music and its presentation.
	shop.elvis.com.au /prod76.htm (1393 words)

	Making movies
		American film history is littered with stories of films ruined by the insensitivity of untalented producers and/or ignorant studio executives.
		As to the controversial new score by Christopher Caliendo, it is actually quite good, more along the lines of the type of western scores that were being done in the mid-Sixties (after Bernstein, before Morricone) with a Mexican flavor.
		Rick Mitchell is a film editor, film director, and film historian.
	www.fromscripttodvd.com /major_dundee_rick_mitchell.htm (271 words)

	Greed Stroheim - 1924 Silent Movie Classic (Site not responding. Last check: 2007-10-11)
		Rick Schmidlin, Roger Mayer and Turner Classic Movies received a special citation for their meticulous reconstruction and promotion of Erich von Stroheim's Greed.
		In the "Chicago Reader" Jonathan Rosenbaum writes about the reconstruction in "Fables of the Reconstruction." He was a consultant on Schmidlin's previous rehab effort "Touch of Evil." His detailed article gives insights into the nature of reconstruction work.
		Director Rick Schmidlin is with the film at the Venice Film Festival where it will be shown today.
	www.geocities.com /Hollywood/Boulevard/4456/greed99.htm (1148 words)

	27ª Mostra BR de cinema
		The work of reconstruction was assigned to Rick Schmidlin who based himself on the 330 pages of film script.
		The restorer also took care to color some photograms of the film according to the original concept of the author such as the coins, the plaque from the gold mine, the canary, all of it in that yellow gold that represented a mortal obsession to Trina, the miserly protagonist of the film.
		Rick Schmidlin 431, Marine Street, 3 90405, Santa Monica, CA, USA Tel: 1 310 399-4144
	www2.uol.com.br /mostra/p_exib_filme_arquivo_3846_en.htm (254 words)

	Syracuse New Times: Film Review (Site not responding. Last check: 2007-10-11)
		Now the Turner Classic Movies network unveils more of a good thing: a special edition of the documentary in a restored version that features a new stereo track, and more importantly, a wealth of new footage and alternate takes that were dug up from the old MGM vaults.
		The painstaking reassemblage of the Elvis documentary was supervised by producer Rick Schmidlin, who presided over the restorations of two cinema classics once vivisected by clueless Hollywood producers--namely, Orson Welles' Touch of Evil (1958) and Erich von Stroheim's Greed (1924).
		Schmidlin has overhauled much of the original documentary, which had devoted perhaps too much screen time to its detailing of the Presley phenomenon.
	newtimes.rway.com /films/elvis.htm (660 words)

	Film: Elvis - That's the way it is
		This new version has been completely re-edited from the original material which producer Rick Schmidlin's search uncovered.
		Rick Schmidlin: "We had people going down two miles below the earth in Kansas looking for unmarked cans that possibly contained the footage and we found things!
		Rick Schmidlin: "I think it's going to shock people when they see how good he looked.
	sunday.ninemsn.com.au /sunday/film_reviews/article_819.asp?... (1017 words)

	TCM Press Room
		The reconstruction, by acclaimed filmmaker and editor Rick Schmidlin, who won critical acclaim for his work on the Directorís Cut of Orson Wellesí classic Touch of Evil, released last year, will finally give audiences the opportunity to see a more representative version of one of the most famous and influential silent films ever made.
		Schmidlinís reconstructed version restores several subplots to the film, including a story centered on the difficulties of the immigrant experience and a brief foray into the life of an abusive junk dealer and his gypsy wife.
		Schmidlin calls his work on the legendary 1924 MGM classic "the most important in my career."
	alt.tcm.turner.com /PRESS_ROOM/99/11/greed.htm (441 words)

	Box Office Prophets: Freaks
		Rick Schmidlin, who used the same technique to recreate the missing footage from D W Griffith's Intolerance, has managed to do what seems, on the surface, the impossible: make a movie out of a series of photographs.
		However, if you're willing to make the commitment - and we are only talking about an hour of your time - you will find a certain artistry to the way in which Schmidlin uses the production stills to create the semblance of a motion picture.
		If you've an interest in film history in general, and/or horror films in particular, London After Midnight is sort of the Holy Grail of the genre.
	www.boxofficeprophets.com /moviereviews/londonmidnight.asp (397 words)

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