Harold and Lillian: A Hollywood Love Story

  • Shining A Spotlight On Two Unsung Cinematic Heroes

    Harold and Lillian’s work influenced hundreds of Hollywood’s most acclaimed classic films, many of which we have highlighted on this blog. They loved their work, they supported each other, and they never sought out the spotlight.

    Below, read an excerpt written by director Daniel Raim and his producing partner wife, Jennifer Raim, about what drew them to these two special people.

    "We frequently hear the adage that cinema is a collaborative art form. However, when the film is finished and the time comes to attribute praise, much of that collaboration is lost. Although Lillian’s research career spanned almost 50 years and hundreds of movies, and she was revered for being the best at finding information that 'you weren’t allowed to see.' Lillian received just seven on-screen 'Research' credits. In Lillian’s opinion, research is 'lost in the mist of memory': “We’re the first ones who are asked to do anything on a picture when it’s really ‘in utero,’ so to speak, and there are so many fits and starts in getting any project off the ground—in fact, to me it’s a miracle that any movie is ever made—that by the time the completion comes around, we’re totally lost from view… It just seems that we do a rather useful thing, and we should be remembered.”

    Similarly, Harold’s storyboarding was very often uncredited. Like research, storyboarding also happens toward the beginning of a film, creating a conception of how the film will be shot. Unlike research, however, storyboarding is (as production designer Jim Bissell describes it) 'an awkward position.' Storyboard artist Gabriel Hardman (Inception (2010), Logan (2017)), describes one of the difficulties of the position: “You’re in a very strange place where you are working with the director, basically, on the highest level of the film, yet you’re also below the line. You’re not one of the key players…as far as everybody else is concerned.”

    Illustration by Patrick Mate: Harold working on Spartacus for Stanley Kubrick

    While directors, cinematographers, and stars may stand out and receive praise (rightly so), there are a multitude of other people like Harold and Lillian whose contributions are unheralded, and yet immense. Their work enhances the indelible emotional impact, the cinematic spectacle, and the truths that the best American films give us.

    Perhaps it does not really matter who came up with which shot. What does matter is that we recognize and appreciate the contributions of hard-working behind-the-scenes masters that lend their lives and their genius to help create the movies. Harold and Lillian: A Hollywood Love Story highlights two of them.

    To read more about Harold and Lillian from the people who worked with them, go to eatdrinkfilms.com

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  • Creating Miniatures on Mel Brooks History of the World, Part I

    Though reviews on this film are mixed (some say it is a potty-mouthed dud, others say it contains a belly full of laughs), Harold remembers working on History of the World Part I with Mel Brooks very fondly and one of the film's where being an "illusionist" came in handy. "It's what we have to be: illusionists. Of course, this is just the flickering shadow on a screen," said Harold.

    Harold remembers one particular scene where he had to create an illusion to overcome a logistical set problem:

    "An example of what we used to do before the computers and the special effects people found out that they can do anything, there was a Mel Brooks picture called History of the World, Part I. We had two stages at MGM, and one of the stages had a pool or a tank, as we call it. This was great because the script called for an Esther Williams type number."

    "But, it turns out that we couldn’t get those two stages, so we went over to Paramount and looked around and found out that there was a stage but the pool was beneath it, underneath. It was a problem because we wanted to reveal these nuns. I said, “We can do a hanging miniature,” which is something that we’ve been doing for years. On this miniature platform, a five-by-eight platform in front of the camera that covered the pool, we painted the flagstone on it, and underneath we put the green moss and drippings and everything like that. Now on the big set, before we took the floor away, I had four tremendous chains. We replaced them with small chains to match the chains which we had on the real set. We placed this platform in front of the camera and raised it and had the girls dive into the water, and it came off. It was just, you might say, a primitive way of doing things, but it worked. We did that many times, for many pictures, with the foreground and a hanging miniature."

    "When we cut to this shot, as Torquemada says, 'Send in the nuns,' this miniature started to rise and rose right out of the frame, and there were the nuns in habits aligned along the pool. When they took off their habits and had their white bathing suits, they all dove into the water and did an Esther Williams number. The thing was fairly well convincing. He [Mel Brooks] appreciated it, and he went along. But they don’t seem to do these things anymore, which are cheap. They go to real expensive digital stuff."

    Here's a look at the finished scene with Harold's miniature:

    Mel Brooks remembers working with Harold on this film and on Spaceballs. "Harold Michelson could see what you were doing, and he knew, without interfering too much and costing you any money, how you could improve it, how you could make it a little better. That was the genius of Harold Michelson. 'Let's make this a little better.' He always did."

    Tonight, our film opens at the Brattle Theatre in Boston while continuing its run at the Quad Cinema in New York City and next week, starting May 12, three Laemmle's Theaters will debut the film in Los Angeles. See our Screenings tab for details about all of the upcoming opportunities to see the film on the big screen. #HaroldandLillian #ClassicFilmFriday

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  • Putting the Jazz in Coppola's The Cotton Club

    This weekend, our film opens in New York's newly refurbished Quad Cinema, Greenwich Village's first ever multiplex originally opened in 1972. In addition to playing our movie, the programmer also has added screenings of some of the films that Harold and Lillian worked on, such as Fiddler on the Roof, Full Metal Jacket, and The Cotton Club. The film has received stellar reviews from The New York Times (Critic's Pick), Village Voice, and NPR. We're really excited to get the film out to theaters. Tickets for the Quad are here: https://goo.gl/UZbojz . The film will also screen in Boston on May 5, and several Los Angeles venues starting May 12. See our Screenings tab above for all screening dates so far.

    For today's #ClassicFilmFriday, let's look at the New York-centered film, 1984 Francis Ford Coppola, jazz extravaganza The Cotton Club. Set in and around the historic 1920s-30s Harlem jazz club of the same name, where terrific black performers entertained a whites-only audience, the film suffered from a confusion of storylines, an overlong run time (2 hours, 8 minutes), and a mixing of genres between a gangster film and a musical. Despite a poor reception at the box office, the film was nominated for Best Art Direction (Richard Sylbert and George Gaines) and Best Film Editing. Since its initial run, The Cotton Club has appeared on many Best Of lists, including those by Siskel and Ebert.

    Lillian Michelson was brought on by Richard Sylbert to provide research on The Cotton Club. Lillian remembers:

    "Dick Sylbert, for whom I had worked in the past on really challenging films, came to me and says, 'We’re doing ‘Cotton Club’—and Harold was a sketch artist on that— and he said, 'What kind of research do you have?' Well, my library was started in 1932 at Goldwyn, and somebody had loved New York night clubs. Somebody went and photographed everything in the Cotton Club. I went to this folder with these amazing photographs. There wasn’t a person in them because they were taken for research purposes, even a measuring stick—every detail that you could possibly think of from the ‘30s, which, of course, was the time that the picture took place: Harlem in the ‘30s."

    "But it was a challenge for other things in the movie. The one wonderful thing about researchers is that we all try to help one another. I called the museum of the City of New-York Historical Society. This wonderful lady remembered seeing pictures of something I needed exactly. She ran up to their attic and she brought it down and she says, 'I found it, I found it.' I knew from the tone in her voice that wonderful feeling when you discover something that you need exactly and you put your finger on it. It’s like no other feeling in the world really, and she shared it and she helped me. That’s what researchers do."

    Lillian in her library stacks

    Meanwhile, Harold Michelson was hired to create the storyboards that would be used in the montage sequences that explained the setting of movie, both the physical location and the cultural tone. Harold remembers:

    "I had to do a montage explaining the life of these people, and it started off with Harlem and how Harlem was in the beginning and how racism crept into their lives. And their soldiers who went to France in WWI came back, a bunch of heroes, and also showing how the neighborhood was changing. There’s a whole bunch of white kids standing here and a moving van, and the moving van moves away revealing three little black girls and then the montage of dancing and the police. It was not in the script of what happens to a neighborhood that's changing."

    "Then there was a murder sequence that somebody was supposed—somebody, a waiter, was slicing ham here for a party. I show him slicing the ham, and there's somebody with a knife coming up and slashing somebody and stabbing him. It was a murder. Then we had an alternate one, inserts, just continuing—alternate 2, alternate 3, of the same thing: how he would go about slicing up somebody. And so we went to alternate 4 and alternate 5, and we just did all these. The director would look at these and make his choice if he wanted any of them, but that's the contribution that you give: 'Here are all the choices. Take your best shot."

    Lillian tried to identify what Coppola liked about working with Harold. "What Francis liked about Harold, what any director would like about Harold—that he was extremely, extremely talented. He had the mind, the cinematic mind, to go into any director’s mind and visualize how they would visualize a scene and draw it that way. There was very little mechanical worry for a director—mechanical: I mean, where to place the camera, where to have the wild wall. Harold was one of the most affable, genial, congenial people, very funny, and could relax a whole set."

    If you like the recollections about the making of classic movies on our site, please share them. #haroldandlillian




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  • Bloomers For Fiddler on the Roof

    Norman Jewison's 1971 musical film Fiddler on the Roof was based on the 1964 Broadway musical of the same name and shows the life of Tevye, the father of five daughters, and his village's attempts to maintain Jewish religious and cultural traditions when 20th century ideas are starting to take hold on personal lives. The film won the 1972 Golden Globe Award for Best Motion Picture-Musical or Comedy.

    Lillian Michelson did some unusual research to provide intimate details to the costume directors working on the film:

    "When I was working on Fiddler on the Roof, I found that it was a fascinating, fascinating movie to work on. Bob Boyle was the production designer, and Harold was a sketch artist. Bob did a tremendous amount of wonderful research, going over to Europe and photographing the old synagogues and the old streets and the old shtetls."

    "I went to the Jewish library and I picked up a book about it, an autobiography written by a man for his grandchildren. It described living in shtetl at that time, turn of the century, and how he went to get eggs for his mother, through the dark, dark forest. He was so afraid of bears. He was only seven or eight years old. I read this book, and I was entranced."

    "I could give them the costumes. That was very easy because I had a lot about European costumes in that period and what the Russian peasants would wear. I don't know whether you remember, there was this song, Matchmaker, Matchmaker, and there's a line of laundry and the daughters of Tevye are hanging their underpants, their bloomers, on it. The costume designers said to me, 'We don't know how to make these underpants.' I said, 'Well, I don't have any pictures of that. Nobody took pictures of Jewish girls' underwear in 1890s or '90s. They said, 'Well, what are we going to put on there? It has to be right.' Of course, everything has to be right."

    Illustration by Patrick Mate

    "So, I decide to go down and sit on a bench at Fairfax and Beverly, which is a Jewish section of Los Angeles.I sit there, and little old ladies are sitting right by me. I start talking about this and that, getting pictures of this for a certain project—I didn't mention the movie—and does anybody remember what you wore in those days? Theywere of that age."

    "They got so excited about helping me. The people were so wonderful, just wonderful. One little old lady—and she couldn't run very fast—walked as fast as she could to her apartment. She says, 'You stay here. I'm going to my apartment and I'm going to cut you out a pattern because we had to sew all our underwear.' She brings me back a pattern with little scallops on the edges of the knee-length bloomers. I didn't do anything. This lady did it all. But this is how things happen. It was just a most marvelous experience, really. These ladies are responsible. I thank you, wherever you are."

    Thanks for reading today's #ClassicFilmFriday post. If you enjoyed it, please share. Harold and Lillian: A Hollywood Love Story opens on April 28 at the newly refurbished Quad Cinema in New York. Sign up to our email list to find out when the film is available in your area: http://haroldandlillian.com/ #haroldandlillian

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  • Film Research for Polanski's Chinatown

    "Chinatown was a fascinating movie to make. It really was. I learned a lot about water, the power of water and the power of people who think that they own water."-Lillian Michelson

    "People don’t understand the story, Chinatown—what does this mean? Well, it’s about water; it’s about these different things, but why is it titled 'Chinatown?' It has to do with Los Angeles. It has to do with the cultural differences that went on in Los Angeles at this time. Chinatown was a place where the people who lived there could not be understood. In other words, they kept to themselves. There’s a certain way of doing things in Chinatown and if you went there, you felt like an outsider within Los Angeles itself. It’s like another country. It’s like being in China."-Marc Wanamaker, renown historian, archivist, and lecturer in film history.

    In 1973, acclaimed director Roman Polanski was asked to return to Hollywood by Paramount Pictures production chief Robert Evans, who had decided that Chinatown would be his first personally produced film, to direct an original and unusual screenplay by renowned script doctor, Robert Towne. Chinatown is considered to be a revival of the film noir genre and resembles the classic private eye novels of Raymond Chandler in which a hard-boiled ex-cop, turned private investigator (Jack Nicholson) meets a femme fatale (Faye Dunaway) to solve a multi-layered mystery. The film is set in 1930s Los Angeles and uses the water wars of Southern California in the early 20th century as its source of inspiration.

    Lillian Michelson did research on the period to aid art director Richard Sylbert and costume designer Anthea Sylbert in their work on the film. Both of the Sylberts were nominated for Academy Awards for Chinatown.


    Lillian Michelson remembers:

    "I had to visit an old folks' home, a yacht club, a modest home in the south of L.A., besides the mansion, and the offices were very interesting to do. For the offices of the private eye—that was fascinating. There was a lot of research I did on that, books and clippings. I knew an old placement when I had to do a lot of research on police, and we became friends. There was a police library, and there were a couple of pictures that he let me look at. I couldn't do anything with them, just look at it, so I tried to memorize everything in the picture of what a private eye's office would look like and what the police department looked like in those days. They had a lot of crime pictures."

    "I remember, I never got letters of complaint in my research, which is a good thing because if a researcher makes a mistake, she doesn’t stay a researcher very long. If you make many mistakes, you don’t get many movies to work on. But somebody wrote when I did Chinatown and they said, 'Don’t you remember that there weren’t any bifocals invented in 1930s?' I took a great deal of pleasure in writing back, 'Benjamin Franklin invented the bifocals in his time,' so there. It was a great feeling. When they honed in on the spectacles in the fountain in Chinatown, that was factually correct."

    Marc Wanamaker comments on Lillian as a researcher:

    "What makes Lillian Michelson a superb researcher—let’s use the example of Chinatown. She worked with Dick Sylbert, the art director on this, but it’s also not just Dick Sylbert. It relates to the whole production values of the film being in a certain place. Say, Dick Sylbert or his subordinates would come in. They need certain pictures, information about a certain set, a certain feel, a certain location, something like this, and Lillian would show them the practical things, pictures and this and that, but it’s not enough. You need to have a feel for it. You need to have a feel for the background of the period and the times and the characters. She would then give them further materials on what life was like in Los Angeles at that time."

    "Lillian is one of the prime researchers because she has not only the materials to show people, but the know-how and the knowledge behind what she’s showing them. See, this is what makes a great researcher. Yes, you can have a library of clippings and photos, and then an art director, a writer, or somebody comes in who doesn’t know the subject, and you put pictures in front of them—but that’s not enough. Lillian would say to them, 'What are you looking for? What do you need to see or feel from all this?' And they would then, of course, look at these objects on the pieces of paper, and then Lillian would show them some more and they say, 'Well, I really would like this feel of the 1930s,' or whatever. Lillian would give them a little background on what the ‘30s were like at this particular location."

    "The story of Chinatown is about the water, without water there is no Los Angeles, and the corruption around the water, and the municipality, the police, and all kinds of intrigues. Most people don’t know about the history of water of Los Angeles, and she would do her own research, on digging up the history of Mulholland, for example. Lillian would help them with the bigger picture, not just showing them an aqueduct or something, but get into the background of the corruption. It’s a complicated script and a lot of undertones relating to it. Lillian was one of the facilitators to the people trying to put a production together to make it believable. She is one of these people that helped make a film believable."

    Thanks for reading today's #ClassicFilmFriday post. If you enjoyed it, please share. Harold and Lillian: A Hollywood Love Story opens on April 28 in New York's Quad Cinema. Sign up to our email list to find out when the film is available in your area: http://haroldandlillian.com/ #haroldandlillian



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  • Capturing The Birds for Alfred Hitchcock

    When shooting began on Alfred Hitchcock's 1963 film, The Birds, a horror/thriller loosely based on the story by Daphne du Mauriere and influenced by an incident that happened in 1961 in the town of Capitola, California, there was much anticipation about this follow up to Psycho. The film celebrates its 54th anniversary next week and was well received by critics upon its release.

    "His relationship with Hitchcock was very, very special because Hitchcock deliberately asked for him to come up to where the crew was on location. It was his big break, the first time that a director ever asked to work with him directly."-Lillian Michelson

    Harold Michelson remembers:

    "I got to meet Hitchcock and I learned a hell of a lot. I learned a tremendous amount from this man who, to me, is cinema. I worked on The Birds at Universal and then Marnie."

    “What I learned through Bob [Boyle, art director and production designer], from Hitch, was the objective-subjective way of shooting a picture. Hitchcock's been noted for suspense, but this is one of his weapons that helped create this suspense in his films. For example in The Birds, when Melanie was sitting on a bench and the jungle gym was behind her and the birds started forming, the angle was from the point of view of the birds and then back to her but closer, the point of view of the birds and closer until...smack! We had the shock of the terror that was behind her. I learned this, and I tried to use it in other times that I did a storyboard. I started looking at other pictures that he did and saw how he would do a lot of his picture without dialogue, cutting from image to image, and building up in the audience a tremendous amount of suspense.”

    "When I was given the script to The Birds, and I had read it, I couldn't quite make up my mind whether it was good or not, but I felt that the script itself, the words themselves, had to be enhanced by a lot of images. I did little compositions and many of my sketches were accepted by Hitchcock and actually were shot that way. There was one time I did a series and I brought them to Hitch. He looked at it, and he said, ‘This is really very good, but I can't use it here.’ And I said, ‘Why?’ I was boiling inside because it really was terrific. He said that this is not the right place to put these sketches, and to me it was a rejection, until I woke up to the fact that he was absolutely right. It was in the wrong place because it would have been anticlimactic, and Hitchcock's pictures aren't anticlimactic. A picture is like a symphony, is like music. It builds up. It goes down. If you’re the composer, you have complete control over the music and the emotions that it gives forth. In this case, he was absolutely right.”

    "When I read about the scene when the attendant was hit by a bird......and gasoline started to flow down the street. I just drew it that way. Cut back to Melanie who sees the stream coming down, and a whip pan to where it was coming from. As she turns back to the car park to see where it's going to, there's a man standing by this car, ready to light his cigar. It was very obvious to me that these were the scenes; there was no talking. And it worked."

    “Hitchcock would put them [storyboard scenes] up in slides and he would show them on a screen and the editor, George Tomasini, and Hitch and myself were in this room, and he would see these individual shots of terror, like quick cuts of absolute terror, with blood running down and her screaming and everything. He would say to the editor, ‘Twelve frames,’ and the editor would take it down a foot of film or whatever, and he actually sat there in the screening room and edited this whole sequence. It was quite amazing to watch this because timing is another area that I know nothing about. I do make a good composition, but as far as how long to keep it on the screen is way beyond me.”

    Bill Krohn, Hollywood correspondent for Cahiers du Cinéma:

    "A lot of the indications for how an action scene would be done would appear in the storyboards, not in the script. The Hitchcock script was a pretty simple thing, and because it was him, he didn't have to have every shot described and so on. It was just important for Hitchcock to have a group of totally copacetic people that he could talk to, spitball with, play jokes on, infuriate. But they loved him. They understood his eccentricities, and they were just totally the ideal team for him to have had. The ones they did together were Marnie and The Birds, and there are no two more beautiful films than that, and these are the guys that did it."

    Harold and Lillian: A Hollywood Love Story opens on April 28, 2017 at the Quad Cinema in New York City and on May 12, 2017 at the Laemmle's in Los Angeles with more cities planned. Sign up for our email newsletter to learn when the film is available in your area.

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  • When Harold Met Star Trek: The Motion Picture

    "I was in Alabama working on a picture when I got this call. Everybody looked at me as though I was an important person, because I mean, Star Trek: The Motion Picture was really big. I wasn't a Trekkie. I hadn't seen hardly any of the series."-Harold Michelson

    "Robert Wise wanted him very badly. I was a Trekkie. I love science fiction. Harold said, 'I don’t like science fiction, all this make-believe up in space. It's all real fake stuff.' I did want him to work on this picture because I thought it would be really fantastic. He could use his inventive mind to build a universe out there."-Lillian Michelson

    Paramount Pictures released Star Trek: The Motion Picture in 1979, but it was a long process from the end of the first series, which ran from 1966-69, to the first feature film. A feature film script had been in the works starting in 1975, but with the release and massive success of Star Wars in 1977, Paramount believed that another space-themed movie would not be successful. They turned their attention to making another TV series, Star Trek: Phase II instead. With the subsequent success of Close Encounters of the Third Kind, Paramount again changed course and scrapped the work done to create the TV series and went full steam into reworking scripts into a feature film.

    Harold Michelson shares his memories of working on the film:

    "When I came back to LA, they told me that this was once going to be a TV series. They had already done some work on it, so when I got there, the first thing I had to do was look around the scene and see what I could use because we evidently had enough money to start from scratch, but I wasn't used to that."

    "I designed a clear plastic or Plexiglas engine. It wasn't based on any scientific fact. I designed the engine, and they put this lighting in it. It had a long tube going back towards the tail of the ship. I went ahead and made it in forced perspective, which means smaller and smaller and smaller."

    "There was a ramp on the side, where we had a five-foot man and four foot, and a young boy. They had to make special costumes for them. They were working on the engine and this was all forced so it looked much bigger than it was.

    A constant problem for the production designer and art department was script revisions. "A lot of things that were going to happen were written and then un-written, until finally I was supposed to design the final ship, where a Voyager of V'Ger sitting in the middle of it, and I was at a loss. Nobody would tell me what the picture's all about, so it was kind of difficult. I knew whatever this thing was, it had to be the grandest-looking in scale that you could have. After a while, you’re kind of numb to what you want to do. What you want to do is get it out. They were working 24 hours a day.They had a Christmas release date."-Harold Michelson

    Paramount released the film on December 7, 1979, and it was met with mixed reviews from critics. The film's original production budget was $15 million, but had ballooned to over $40 million before completion. Though it fell short of the studio's revenue expectations, it was the fifth-highest-grossing film of 1979. Harold Michelson's work earned an Academy Award nomination for Best Art Direction, though he didn't win. "It's funny, when somebody would say, 'What have you done?' and I'd say, 'I've done the Star Trek movie,' all of a sudden you're elevated. Those are the things that get you jobs. I worked on an awful lot of bombs that I wouldn't even mention, and I did some of my best work on them so, it's political."

    This week, La-La Land Records released a vinyl edition of the 2012 re recordings of the expanded Star Trek: The Motion Picture score. Find the recordings here: http://www.lalalandrecords.com/Site/STM.html

    Learn more about Harold and Lillian Michelson's work by seeing the documentary Harold and Lillian: A Hollywood Love Story when it hits theaters starting April 28, 2017 at the Quad Cinema in New York City. Sign up for our email newsletter to find out when the film may be in your city: http://haroldandlillian.com/

    #haroldandlillian #classicfilmfriday


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  • Harold's Storyboards for the "Ten Commandments"

    We're going to start something new today and we hope you will like it. Every Friday, we'll be looking at a film that Harold and/or Lillian worked on and providing their recollections of how the project came together. Join us every #ClassicFilmFriday for their perspectives on the making of an iconic American film. Today, we share Harold's remembrances of The Ten Commandments.

    The Ten Commandments is a 1956 biblical epic film produced and directed by Cecil B. DeMille with cinematography by Loyal Griggs, A.S.C. and starring Charlton Heston in the role of Moses.

    As Harold remembers:

    "Studios used to trade people like baseball teams do.

    One day they got a call, they wanted somebody to work on "he Ten Commandments. So they sent me over there. I was interviewed at Paramount, and I got the job. I have hundreds of storyboards of the film and sketches that I worked on. That was a big break for me.

    I know we did almost every setup and scene in The Ten Commandments, Bill Major and I. Hundreds and hundreds, maybe thousands of drawings, and they were all used."

    Storyboards are mostly unseen records of how scenes in the film will be created. While sketch artists frequently worked behind the scenes to help directors or cinematographers map out angles and shot set-ups, they were often the secret weapon that above the line talent did not acknowledge.

    Harold said:

    "William Dieterle called Ken Reed, who was sketching at that time, to meet in the men's room to talk about a certain sequence. That's how strict it was. He didn't want anybody to know that he was using storyboard, and we weren't allowed to contact these people. There was a terrific caste system then.

    I never had contact with DeMille. And I don't know who his cameraman was, but I never had a contact with him. But I know when I see the movie, I'd see my sketches."

    From there, because now I've been doing something Biblical, I got a call from MGM to work on Ben Hur, I was good with people with sheets. From there, I went up to Spartacus.

    From the film Harold and Lillian: A Hollywood Love Story, opening theatrically on April 28,2017 at the Quad Cinema New York City and May 12, 2017 at the Laemmle's in Los Angeles.

    See the trailer here: http://haroldandlillian.com

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  • Two-Headed Monster

    Storyboard Artist Harold Michelson talks about pre-visualizing THE GRADUATE:

    "I'm trying to get as many different compositions as I can without making it a dull two-headed monster or a two-headed screen of just two people talking and cutting back and forth, which makes it absolutely deadly. I don’t care how good the dialog is.


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