![]() The most interesting change about the remake is that they restored the ending of Johnson’s script. I’m also sure that, even with the possible presence of a shark to manipulate the tables when the camera is not on the actors, there is enough visual proof of all four actors sinking shots for me to know that I would have lost a game of pool against any of these four men. I’d really recommend any aspiring filmmakers take an hour and watch this more closely than I did I’m sure they will learn a huge amount about the choices made to present this story. There are almost no two-shots, and far fewer closeups. The original ran a couple of minutes longer, since TV had fewer ads in 1961, so the color version moves faster and loses some of the monologues. I’m going to quibble about this Fats being dead for fifteen years with a late eighties haircut like that, but otherwise it was very interesting to see the choices the director and actors made. ![]() “A Game of Pool” was remounted in 1988 with Esai Morales and Maury Chaykin in the roles of Jesse Cardiff and Fats Brown. I don’t know whether CBS Access has ordered a third season of the modern version of Zone, but if they don’t, nobody’s going to shell out for six more episodes to beef the total to 26, are they? On streaming services, it doesn’t matter if you have 65 or 100 episodes or just two. This was a huge problem for studios and production companies in the past, but it doesn’t mean anything anymore. We started by talking about what it meant to the world of the past to have enough episodes for a syndication package. One of these was a remake of George Clayton Johnson’s “A Game of Pool.” We watched the original version of this, starring Jonathan Winters and Jack Klugman, a couple of years ago. In the late 1980s, after CBS had cancelled the revived Twilight Zone, the production company decided to shoot thirty more half-hour episodes as cheaply as possible to make a syndication package. Yet she wrote verses in great abundance and though brought curiosity indifferent to all conventional rules, had yet a rigorous literary standard of her own, and often altered a word many times to suit an ear which had its own tenacious fastidiousness." -Thomas Wentworth Higginson "Not bad.Tonight, we switched things up a little and enjoyed a small experiment. A recluse by temperament and habit, literally spending years without settling her foot beyond the doorstep, and many more years during which her walks were strictly limited to her father's grounds, she habitually concealed her mind, like her person, from all but a few friends and it was with great difficulty that she was persuaded to print during her lifetime, three or four poems. In the case of the present author, there was no choice in the matter she must write thus, or not at all. On the other hand, it may often gain something through the habit of freedom and unconventional utterance of daring thoughts. Such verse must inevitably forfeit whatever advantage lies in the discipline of public criticism and the enforced conformity to accepted ways. ![]() Part of the preface to the 'Complete Works of Emily Dickinson helps sum me up as a person and an artist: "The verses of Emily Dickinson belong emphatically to what Emerson long since called ‘the Poetry of the Portfolio,’ something produced absolutely without the thought of publication, and solely by way of expression of the writer's own mind. ![]() Moro, The Mummy's Kryptonite, Wendigo, BFC), Nibbler (a.k.a. Lady), and five cats - Burglekutt (a.k.a. Scrat, Dinki-Di, Trash Panda, Dug), and Mystique (a.k.a. I currently reside in rural Montana and live a secluded life with my three dogs - Pebbles (a.k.a. Born in 1984, I started painting in 2017 and began to take it somewhat seriously in 2019. I’m a self-taught artist, originally from the north suburbs of Chicago (also known as John Hughes' America). ![]()
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