June 28, 2009
Back on the Big Screen
'We Are Marshall' Showing at Keith Albee Part of July 2 Fourth Avenue Soccer Welcome
Celebration
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By Tony Rutherford
Huntingtonnews.net Entertainment Editor
Huntington, WV (HNN) – Complementing the soccer tournament and pre-July 4th activities, the DAWG and corporate sponsors bring “We Are Marshall” back to the Keith Albee’s screen on July 2 at 6 p.m. There is no admission charge.
The celebration will be a Welcome Party for the 2009 Region 1 Youth Soccer Championships. If a party on Fourth Avenue sounds familiar, the DAWG threw a party to welcome the Warner Bros. cast and crew on the Saturday before filming began in April 2006.
Warner Bros. and McG shot portions of the Marshall University air crash and football re-birth on campus.
The World Premiere of the movie was at the Keith Albee and Marquee Cinemas Pullman Square. However, only those donating at least $250 to the theatre’s restoration could obtain a ticket for the Keith showing in November 2006.
A portion of the movie was shot both inside and outside of the Huntington movie palace. The scene inside shows Nate Ruffin (Anthony Mackie) watching a movie , then, a manager informing the audience of the crash. Fire trucks and ambulances then rush to the scene.
The Angie Fletcher Band will also perform at the welcome event.
Earlier on Thursday, at 2 p.m. an Olympic-like opening ceremony will take place at the Joan C Edwards Stadium. The 82nd Airborne Division’s All American Free Fall team will parachute into the stadium and a 750 square foot flag will be unfurled on the field. The stadium ceremony is free to the public.
The soccer tournament will bring about 5,000 players and 16,000 parents, coaches and referees to the city. Lodging is fully booked, including the use of some Marshall University dormitories.
Just like the shooting of “We Are Marshall” brought economic benefits to the city and surrounding areas, the soccer tournament could bring $7 million in tourist spending.
As for the showing of “We Are Marshall” at the Keith Albee, here’s what it was like in April 2006, when the Keith Albee had its close-up in the movie:
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The marquee proclaimed that “Kelly’s Heroes,” a 1970 movie starring Clint Eastwood, Donald Sutherland, and Telly Savalas, was on the big screen.
However, in reality a 20 second clip would be shown over and over.
Curiosity seekers would be turned away by terse, “The building is not open to the public today.” Attendance for the ‘revival’ of “Kelly’s Heroes” was strictly regulated based on the needs of filmmakers.
As the gaffers, grips, cinematographer, lighting director, as well as the director, producers, extras and actors, gathered the scene resembled a stage show moving in their sets, props and other gear.
But, for once, the Keith Albee would share co-billing. Today, the movie palace which had shown films from its 1928 construction until January 2006 would be ‘in the movie.’ Director McG would give the atmospheric historically registered Huntington icon a close up of its own.
As technicians and production assistants scrambled, you could see one with historic newspaper clippings and artistic renditions of a scene. Before bring in “the thespians,” McG and the technical team would rehearse the angle of the Panavision camera as it caught a portion of “Kelly’s Heroes, ” then stood stationary as the film stopped, the house lights rose, and ‘Katie’ walked in front of the center of the screen.
Throughout multiple takes, McG kept a confident and complimentary attitude toward cast and crew. Sitting next to live monitors of the camera’s eye view, McG’s voice varied from “that’s exactly the read I want” to “that feels natural,” but after a compliment he added a few words of direction such as telling ‘Katie’ to “feel the pressure,” remember “it’s hard to say,” and to “take a few deep breaths.”
Shortly thereafter, he beamed, “that’s the rhythm, that’s the timing, its print city.” But, just for insurance, he ran another take before happily screaming “that was fantastic!”
But the show was not yet over.
The Panavision camera would now be reset to focus on the audience. Again, he would compliment with the “fantastic,” but add that he “wanted some specific stuff this time.”
His ‘stuff’ ranged from having the projector cut off so that the film’s sound dragged to telling the thespians and extras to look behind “as if the film broke.” Once, he told Anthony Mackie to wait before looking so serious. To paraphrase, you don’t know it’s bad news yet.
During the filming, the aisles were filled by people and equipment. Except for the actors and extras, few looked at the screen. In fact, slowly yet methodically, the scene changed from a full technical “with bells and whistles” rehearsal to a rehearsal with the cast, which the director stated, “let’s record it, now fade to black.”
As he watched the playback and live shots, McG had the technicians tweak the lighting. He appeared to like a ‘take’ in which dim house lights remained in the background.
Whether another ‘take’ from the same angle or after a break re-setting the camera lens to a different position, the protocol stayed similar, “pictures up…roll sound please… rolling…action.”
While no one came to watch the movie, McG ensured that his extras had real refreshments after several re-takes. Then, he looked at the two monitors and told an assistant bring “more popcorn.”
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Back on the Big Screen
'We Are Marshall' Showing at Keith Albee Part of July 2 Fourth Avenue Soccer Welcome
Celebration
By Tony Rutherford
Huntingtonnews.net Entertainment Editor
Huntington, WV (HNN) – Complementing the soccer tournament and pre-July 4th activities, the DAWG and corporate sponsors bring “We Are Marshall” back to the Keith Albee’s screen on July 2 at 6 p.m. There is no admission charge.
The celebration will be a Welcome Party for the 2009 Region 1 Youth Soccer Championships. If a party on Fourth Avenue sounds familiar, the DAWG threw a party to welcome the Warner Bros. cast and crew on the Saturday before filming began in April 2006.
Warner Bros. and McG shot portions of the Marshall University air crash and football re-birth on campus.
The World Premiere of the movie was at the Keith Albee and Marquee Cinemas Pullman Square. However, only those donating at least $250 to the theatre’s restoration could obtain a ticket for the Keith showing in November 2006.
A portion of the movie was shot both inside and outside of the Huntington movie palace. The scene inside shows Nate Ruffin (Anthony Mackie) watching a movie , then, a manager informing the audience of the crash. Fire trucks and ambulances then rush to the scene.
The Angie Fletcher Band will also perform at the welcome event.
Earlier on Thursday, at 2 p.m. an Olympic-like opening ceremony will take place at the Joan C Edwards Stadium. The 82nd Airborne Division’s All American Free Fall team will parachute into the stadium and a 750 square foot flag will be unfurled on the field. The stadium ceremony is free to the public.
The soccer tournament will bring about 5,000 players and 16,000 parents, coaches and referees to the city. Lodging is fully booked, including the use of some Marshall University dormitories.
Just like the shooting of “We Are Marshall” brought economic benefits to the city and surrounding areas, the soccer tournament could bring $7 million in tourist spending.
As for the showing of “We Are Marshall” at the Keith Albee, here’s what it was like in April 2006, when the Keith Albee had its close-up in the movie:
The marquee proclaimed that “Kelly’s Heroes,” a 1970 movie starring Clint Eastwood, Donald Sutherland, and Telly Savalas, was on the big screen.
However, in reality a 20 second clip would be shown over and over.
Curiosity seekers would be turned away by terse, “The building is not open to the public today.” Attendance for the ‘revival’ of “Kelly’s Heroes” was strictly regulated based on the needs of filmmakers.
As the gaffers, grips, cinematographer, lighting director, as well as the director, producers, extras and actors, gathered the scene resembled a stage show moving in their sets, props and other gear.
But, for once, the Keith Albee would share co-billing. Today, the movie palace which had shown films from its 1928 construction until January 2006 would be ‘in the movie.’ Director McG would give the atmospheric historically registered Huntington icon a close up of its own.
As technicians and production assistants scrambled, you could see one with historic newspaper clippings and artistic renditions of a scene. Before bring in “the thespians,” McG and the technical team would rehearse the angle of the Panavision camera as it caught a portion of “Kelly’s Heroes, ” then stood stationary as the film stopped, the house lights rose, and ‘Katie’ walked in front of the center of the screen.
Throughout multiple takes, McG kept a confident and complimentary attitude toward cast and crew. Sitting next to live monitors of the camera’s eye view, McG’s voice varied from “that’s exactly the read I want” to “that feels natural,” but after a compliment he added a few words of direction such as telling ‘Katie’ to “feel the pressure,” remember “it’s hard to say,” and to “take a few deep breaths.”
Shortly thereafter, he beamed, “that’s the rhythm, that’s the timing, its print city.” But, just for insurance, he ran another take before happily screaming “that was fantastic!”
But the show was not yet over.
The Panavision camera would now be reset to focus on the audience. Again, he would compliment with the “fantastic,” but add that he “wanted some specific stuff this time.”
His ‘stuff’ ranged from having the projector cut off so that the film’s sound dragged to telling the thespians and extras to look behind “as if the film broke.” Once, he told Anthony Mackie to wait before looking so serious. To paraphrase, you don’t know it’s bad news yet.
During the filming, the aisles were filled by people and equipment. Except for the actors and extras, few looked at the screen. In fact, slowly yet methodically, the scene changed from a full technical “with bells and whistles” rehearsal to a rehearsal with the cast, which the director stated, “let’s record it, now fade to black.”
As he watched the playback and live shots, McG had the technicians tweak the lighting. He appeared to like a ‘take’ in which dim house lights remained in the background.
Whether another ‘take’ from the same angle or after a break re-setting the camera lens to a different position, the protocol stayed similar, “pictures up…roll sound please… rolling…action.”
While no one came to watch the movie, McG ensured that his extras had real refreshments after several re-takes. Then, he looked at the two monitors and told an assistant bring “more popcorn.”
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Make HNN Your Homepage (IE Users Only)
