– A festive two hour collection of holiday tunes, debuting on October 1, 2010! –
Disc One is packed with a selection of macabre party hits, from a new extended mix of Michael Jackson’s “Thriller†to Sheb Wooley’s campy “The Purple People Eater.†Disc Two follows with pieces reflecting the darker side of Halloween. Here, spooky film themes, ghoulish classical favorites, and other grisly tunes mix it up with creepy sound effects perfect for a stormy night.
Produced by Jason Pittman and Kali Pappas, this collection offers new presentations of old classics alongside several fun surprises. But beware — this is not your average Halloween mix tape. Listen and share! If you dare…
Goblins on the doorstep,
Phantoms in the air,
Owls on witches’ gateposts
Giving stare for stare, Cats on flying broomsticks,
Bats against the moon,
Stirrings round of fate-cakes
With a solemn spoon.
Whirling apple parings,
Figures draped in sheets,
Dodging, disappearing,
Up and down the streets,
Jack-o’-lanterns grinning,
Shadows on a screen,
Shrieks and starts and laughter
This is Halloween!
So, my Emma 2009/2010 DVD arrived today via Amazon, and I’ve perused the special features. As far as I know, this BBC DVD version from Amazon is the same as the DVD that ShopPBS.org will ship next month.
Disc 1 includes featurettes on the Emma filming locations and costumes, bringing you short interviews with crew and cast about the visual side of the production.
Design board for the Squerryes Court dining room.
The “Locations” piece primarily covers Squerryes Court as Hartfield and Loseley Park as Donwell Abbey, describing the crew’s intent to use space as a metaphor for the various characters’ existences and as an indicator of each character’s social station. Emma, for example, inhabits an elegant home with an easy, unobstructed floorplan which represents her personality and life experience:
“Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her.”
Donwell Abbey, by contrast, is more venerable in size, style, and age, which very much suits the character and social status of Mr. Knightley:
“The house was larger than Hartfield, and totally unlike it, covering a good deal of ground, rambling and irregular, with many comfortable, and one or two handsome rooms. It was just what it ought to be, and it looked what it was; and Emma felt an increasing respect for it, as the residence of a family of such true gentility, untainted in blood and understanding.”
The featurette also briefly covers decor choices and the tricks involved in shooting winter scenes in June(!). While the snowscape longshots at Squerryes Court were indeed filmed during winter, the Knightleys’ rear garden snowball fight was shot on a 27-degree C day! This recalls the snow scenes from the 1995/96 Pride and Prejudice adaptation, which were filmed in July of 1994, if I’m remembering correctly.
Snow in June at Squerryes Court!
The costume featurette was of particular interest to me. There were several conversations with costume designer Rosalind Ebbutt, who shares various elements of the design process. Ebbutt brainstormed ideas via collages of period images, fabric swatches, and color samples for each character. Frank Churchill’s even included a photo or two of Mick Jagger, whom Ebbutt felt captured the dashing worldliness of the character. In addition to remarks from the designer, we also hear from the actors. Romola Garai, Louise Dylan, Blake Ritson, Tamsin Greig, Rupert Evans, Laura Pyper, and Jonny Lee Miller all comment on the collaborative design process, how fashion reveals character status, personality and transformation, and the nuts and bolts of wearing period fashion.
Harriet and Emma: Twins!
Tamsin Greig, for example, describes Regency underpinnings (chemises, custom corsets made specifically for each actress, and in some cases, a “bustle” pad). Romola Garai shows her little chatelaine watch as an example of a costume accessory that denotes Emma’s status as “lady of the house.” Louise Dylan describes how Harriet Smith’s wardrobe begins to mimic Emma’s as the older girl’s influence grows. And Jonny Lee Miller discusses Mr. Knightley’s practical yet elegant wardrobe as an outward manifestation of the character’s personality. “I can see myself gambling in this,” he jokes, indicating his beautiful brocade waistcoat and velvet tailcoat.
Disc 2 contains the music featurette and an interview with Sir Michael Gambon (Mr. Woodhouse), filmed on location at Squerryes Court.
The Music piece includes interviews with composer Samuel Sim, Director Jim O’Hanlon, and Producer George Ormond, and generally overviews the process of scoring a television series. Director O’Hanlon describes Sim’s Emma soundtrack as having “one foot in the period and one foot in today,” allowing the film to sound historically-appropriate while maintaining a freshness accessible to modern ears. Sim and O’Hanlon also discuss how Emma’s main theme, or motive, is reiterated over the course of the miniseries to accentuate onscreen moods and actions.
Samuel Sim and Jim O'Hanlon "spot" musical cues.
In addition, we learn a little about the planning or “sketching” period, during which the composer creates the main theme and ideas for the various musical cues that will be required in the finished miniseries. We also get to glimpse a “spotting” session with the composer, director, and producer, which involves watching the film, matching up extant music cues with the footage, and coming up with plans for additional cues not yet written. The featurette concludes with a recording session at the legendary Abbey Road Studio of Beatles fame. This is totally off-topic, but it’s worth noting that the score for the upcoming “World of Color” show at Disney’s California Adventure was recorded just a few weeks ago at Abbey Road.
I haven’t yet watched the DVD version of the miniseries itself, but I understand that it DOES include various short scenes that aired on the BBC but not on PBS.
In all, I think the bonus features were worth the DVD purchase price (I paid around $23, via Amazon). The packaging is a beautiful, book-style box – gatefold, I guess you could say? – with photos of Garai on the cover and on the discs themselves. There’s a panorama of the Box Hill picnic on the inside.
Well, I’m home from a lovely visit to Orange County and Los Angeles. Yes, we went to Disneyland. Yes, we stopped by Kiyonna. Yes, I bought something. One dress. ONLY ONE. Really.
Anyway, here’s the latest scoop on Emma, which wrapped last night on Masterpiece Classic:
If you were one of the #emma_pbs Twitter winners from last week, make sure you follow me/respond to my direct message so I can get your mailing info to the good folks at PBS.org and so you can get your awesome Jane Austen action figure. 😀 Remember, I’m @magicskyway.
Kali and friends at the Mansion's 30th anniversary festivities, 1999.
So I’ve been woefully out of touch with the Haunted Mansion scene lately, partly because I don’t have time and partly because I’m sick to death of the merch-o-rama effect that surrounds every attraction milestone. I didn’t attend the 40th anniversary festivities that coincided with the D23 Expo back in September, but I did find this cute interactive Haunted Mansion feature at the Disney site. It features a version of Rolly Crump’s Corridor of Doors wallpaper (for your desktop – basically a larger version of what I offer at Better Haunts & Graveyards), a video clip on the mansion, a stretching portrait gag, little photo galleries, and more. Oh, and it also features my Disney alterego, Marc Davis’ April D., morphing from April to June to September to December. 🙂
From the White House, Barack Obama’s recording session for the NEW Hall of Presidents at Walt Disney World. His apparent lack of knowledge regarding audio animatronics indicates that Dude needs to get his butt to a Disney theme park, STAT!
This animation sequence was released as the “Blue Bayou” segment in Walt Disney’s Make Mine Music (1946), one of several Walt Disney “composite” releases of the mid-late 1940s. Originally, however, it was created to accompany Claude Debussy’s Clair de Lune as an additional segment for Fantasia. Initially, Mr. Disney had intended Fantasia to be a fluid, changing concept, to which new pieces would be added with each re-release. For a number of reasons (the 1941 animators’ strike, WW2,…), that concept didn’t pan out (at least, not until Fantasia 2000…kind of). In 1998, the original version of Clair de Lune was restored and screened at the London Film Festival.
