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The last shot to be filmed in principal photography for Star Trek VI: The Undiscovered Country in 1991 was the final scene on the Enterprise-A bridge with Kirk and his crew. It was an emotionally-charged moment, and a lot of visitors gathered around the set to take in the proceedings. Director Nicholas Meyer called for a wide shot of the set, taking in the entire cast. The camera pushed gently in to Kirk, who reflected pensively on the end of an era. After that, William Shatner remained in his captain's chair as he recorded his voice track for Kirk’s final captain’s log.

And that was it. The director said "cut!" and it was a wrap for Star Trek VI. Well, almost. The cast and crew gathered in front of the set for a champagne toast. Denise and I remained on the bridge for a few moments to absorb the ambience. Then Denise noticed a strange smell. One of the video monitors had overheated and caught fire! It was one of the screens directly behind the captain's chair. It was just a small flame, and I tried to smother it a blanket. Meanwhile, Denise alerted one of the special effects technicians, who grabbed a fire extinguisher and put the small fire out very quickly. No big deal. After the commotion died down, we joined our coworkers in toasting the completion of the film.

Today (Fri Dec 6, 2024) is the 33rd anniversary of the release of Star Trek VI.

Imitation is the greatest form of flattery! How would you take on the task of extending a role created by another?

Steven Spielberg’s 20 favourite movies:
It’s a Wonderful Life – Frank Capra (1946)
The Godfather – Francis Ford Coppola (1972)
Fantasia -Walt Disney (1940)
A Guy Named Joe – Victor Fleming (1943)
Guardians of the Galaxy – James Gunn (2014)
War of the Worlds – Byron Haskin (1953)
Psycho – Alfred Hitchcock (1960)
2001: A Space Odyssey – Stanley Kubrick (1968)
Lawrence of Arabia – David Lean (1962)
Untouchable – Olivier Nakache and Éric Toledano (2011)
The Dark Knight – Christopher Nolan (2008)
The 400 Blows – François Truffaut (1959)
Day for Night – François Truffaut (1973)
Citizen Kane – Orson Welles (1941)
Captains Courageous – Victor Fleming (1937)
The Best Years of Our Lives – William Wyler (1946)
The Searchers – John Ford (1956)
Tootsie – Sydney Pollack (1982)
Seven Samurai – Akira Kurosawa (1954)
Dumbo – Walt Disney (1941)

Resource: https://faroutmagazine.co.uk/steven-spielberg-20-favourite-movies-ever

Robin Curtis discusses her long journey in "Becoming Saavik," recalling her work with Leonard Nimoy, and reflecting on the emotional experience of returning to the character in "765874 Unification," the new concept video from the Roddenberry Archive and OTOY, Inc. We produced "Becoming Saavik" with Roger Lay, Jr, and the Roddenberry Archive/OTOY team.

Stunt Driving sequences over the years:

#dyinghollywood
#actor

['The Pitt' is telling actors to take it or leave it…

Max's upcoming hospital drama ‘The Pitt’ is causing a stir in Hollywood—and not just because of that lawsuit claiming it copied ER.

The scoop: Usually, when actors join a big streaming show, their agents typically spend weeks haggling over every dollar of their client's paycheck. But ‘The Pitt’ is trying something different: except for Noah Wyle, who stars and executive produces, the show's regular cast members get fixed salaries of either $50K or $35K per episode—no negotiation allowed.

Why it matters: With 15 episodes and 10 regular cast members who need to be on set daily, 'The Pitt' is bigger than most streaming shows—making predictable costs crucial. At a time when TV networks are tightening belts (goodbye, 'Friends'-style million-dollar paydays), this fixed-fee approach:
• Makes casting faster
• Keeps budgets predictable
• Works well for large casts

Looking ahead: While this isn't industry standard (yet), ‘The Pitt’ could be the template for future "reasonably priced" streaming dramas. HBO/Max boss Casey Bloys is already pointing to it as the model for Max's drama strategy. Other shows testing fixed fees for guest stars:
• ‘Accused’ (Fox): $150K per lead guest
• ‘Elsbeth’ (CBS): $100K for special guests
• ‘Poker Face’ (Peacock): $75K (down from $150K in Season 1)

The bigger picture: This is part of TV's post-peak reality check. While top stars can still command big bucks, supporting players are facing a new normal. With fewer series-regular roles available and budgets shrinking, fixed-fee models might be the future of TV casting—whether actors like it or not.] ~ The Dailies

Love to hear some opinions or better still some first-hand reports.
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One must tip a hat to anyone who expresses themselves so articulately!

Labor Day 2024: I work for (mostly) good people whose legitimate business interests are often at odds with mine. I need strength in my corner to ensure that my equally-legitimate interests aren't trampled. That's why I'm a union member: IATSE Art Directors Guild - Local 800

Sure, they can afford the best trainers and equipment, but don't say they don't work hard to succeed!

Did you know James Cagney slapped Doris Day for real in "Love Me or Leave Me" (1955)? He didn’t tell her in advance to capture a genuine reaction, and it worked as audiences gasped at her surprise and the shocking scene it created.

Was it all just a publicity stunt? A Time Magazine photographer happened to be on set, and those photos quickly made their way into the magazine.

https://www.facebook.com/venita.ozolsgraham/posts/pfbid02ADmHQiLMXiRavh…

Marilyn Monroe required 47 takes to get "It's me, Sugar" correct in "Some Like it Hot" (1959), instead saying either "Sugar, it's me" or "It's Sugar, me". After take 30, Billy Wilder had the line written on a blackboard. Another scene required Monroe to rummage through some drawers and say "Where's the bourbon?" After 40 takes of her saying "Where's the whiskey?", 'Where's the bottle?", or "Where's the bonbon?", Wilder pasted the correct line in one of the drawers. After Monroe became confused about which drawer contained the line, Wilder had it pasted in every drawer. Fifty-nine takes were required for this scene and when she finally does say it, she has her back to the camera, leading some to wonder if Wilder finally gave up and had it dubbed.

After shooting was completed, Wilder threw a celebration dinner at his home for cast members and friends. Monroe was not invited. The crushed star had to have it explained to her that she had cost the production roughly half a million dollars with her delays and unprofessional behavior. Wilder had generally unkind things to say about her after this film. When asked if he would do another project with her, he replied, "My doctor and my psychiatrist ... tell me I am too old and too rich to go through this again." After reading some of the things Wilder said about her in print, Monroe called his home and told his wife to please give her husband the message - "to go f*** himself." Wilder changed his tune later, commenting, "It takes a real artist to come on the set and not know her lines and yet give the performance she did." A year later, at the premiere of "The Apartment" (1960), Monroe threw her arms around him, told him how much she loved the picture, and whispered that she would like to play the lead in "Irma la Douce" (1963), a role that eventually went to Shirley MacLaine.

Tony Curtis has said that he asked Wilder if he could imitate Cary Grant for his stint as the millionaire in the movie. Wilder liked it and they shot it that way. Apparently, Grant saw the parody of himself and stated, jokingly, "I don't talk like that."

Jack Lemmon wrote that the first sneak preview had a bad reaction with many audience walkouts. Many studio personnel and agents offered advice to Wilder on what scenes to reshoot, add and cut. Lemmon asked Wilder what he was going to do. Wilder responded: "Why, nothing. This is a very funny movie and I believe in it just as it is. Maybe this is the wrong neighborhood in which to have shown it. At any rate, I don't panic over one preview. It's a hell of a movie." Wilder held the next preview in the Westwood section of Los Angeles, and the audience stood up and cheered. (IMDb)

Happy Birthday, Billy Wilder!