Hi,
A couple more follow-up notes from the last three weeks. Not as exciting as the Olympics, but cheaper.
From Emily Kleinman Schreiber: I was also at Camp Che-Na-Wah. I think it was in 1959, and my parents actually paid for me to be a camper-waitress. Kitty Carlisle's granddaughter was at one of my tables, and she was a pain in my butt -- always asking for more pickles. Thanks for taking me back in time.
[Rich -- That would actually have been Kitty Carlisle Hart's daughter, Catherine, who would have been nine in 1959. Kitty Carlisle married Moss Hart in 1946, and they had two children, Christopher in 1948 and Catherine in 1950.
I knew about Christopher because he still directs productions of the plays his father wrote with George Kaufman, but I didn't know about Catherine until I just did some fact checking. I did that because I suspected that Kitty Carlisle wasn't old enough to have a granddaughter in 1959. She was, technically; she was forty-nine. But since she had her first kid in 1948, that would have been tough.]
From Robert Fiveson: I was honored to win " Best Actor" for my performance in My Three Angels. Immodestly, I mention that I have won dozens of awards and trophies over the years for my documentary work, but I still have and treasure that one trophy above all others.
[Rich -- This is weird. There are lots of things I can't remember and specifically can't remember about high school, but I don't remember "Best" anything awards being given for roles in the plays Linda Adams and Vince Tampio directed. I do remember "Best Actor, Actress, Supporting Actor, Supporting Actress, Director, and Play" awards being given for the One-Act Play Contests, and since Robert played a lead in each the class of '65's one-acts, maybe that's the award he's been treasuring.
Of course, there's also a chance that Linda Adams -- who I thought directed My Three Angels though Allen Moss remembers it being Vince -- possibly gave Robert a personal award for that play. Linda was on record as thinking Robert was cute. She was also on record as having the usual, adult, required restraint.]
Finally, from Barnet Kellman, by way of Facebook: I'm really proud that The Hollywood Reporter named USC School of Cinematic Arts the number one film school in the world and cited our newly launched comedy program, Comedy@SCA, as one of the reasons.
[Rich -- That's terrific, of course. And rather than include the link, here’s the important part of the long article. This story first appeared in the August 3rd issue of The Hollywood Reporter, and the full version may still be available online.]
The article -- and remember this is in Hollywood Reporter-speak:
USC No. 1 on The Hollywood Reporter's Second Annual List of the Top 25 Film Schools
Last year's topper, the American Film Institute, falls to No. 2, while UCLA, Beijng and NYU round out the top 5.
It was a nose-to-nose thoroughbred horse race between USC and AFI, the winner of 2011's inaugural Top 25 Film Schools list in THR, but the narrow consensus of experts consulted -- from indie insiders to academics to industry titans -- was that in 2012, USC was ahead by a whisker. "It's been quite a year," says Elizabeth Daley, dean of the USC School of Cinematic Arts, the best-funded, most Hollywood-connected film school. Even by USC standards, the achievements were dramatic.
Alums held key creative positions on films grossing more than $7 billion worldwide and on top auteurist TV shows including Mad Men and American Horror Story (17 Emmy noms each). USC added a Comedy@SCA program to train the Paul Feigs of the future as well as a new building for the interactive media division backed by game giants EA and Microsoft that provides 62,500 square feet of new space. Princeton Review has named USC America's top game design program three years running. So why should film students care about visual effects, performance-capture labs or new Microsoft endowed professor Dennis Wixon? "We train people for the future, not the past," says Daley. "You need to take courses in interactive media and animation even if you're never going to do it. If you're a producer or director who doesn't understand VFX, you're in trouble. We're integrating our music editing into the games division." Once balkanized by discipline, students now take an intro course together. "You do learn how to do everything," says Steve Boman, '09, author of the USC memoir Film School. Another tipping point in the road to No. 1: Growing programs offer three levels of degrees, versus AFI's one.
DEGREES: B.A., M.A., MFA and Ph.D. programs in everything from film and TV to animation and interactive media
NOTABLE ALUMNI: George Lucas, Ron Howard, Jon Landau
PERTINANT QUOTATION: "Three DPs I've worked with went to USC, and when we talk about camera blocking and shot design, we easily fall into the shared language we picked up in film school. On a TV pilot, I made a reference to how we did it on the old mixing board at USC, and virtually everyone in the room perked up: sound mixer, editor, music editor, producer, various assistants. We realized that all of us had attended USC film school and had similar experiences. So talking about the work quickly turned into a lot of shorthand and head-nodding -- and grousing about professors. The mix went very smoothly." -- Michael Lehmann, director, True Blood
It was a nose-to-nose thoroughbred horse race between USC and AFI, the winner of 2011's inaugural Top 25 Film Schools list in THR, but the narrow consensus of experts consulted -- from indie insiders to academics to industry titans -- was that in 2012, USC was ahead by a whisker. "It's been quite a year," says Elizabeth Daley, dean of the USC School of Cinematic Arts, the best-funded, most Hollywood-connected film school. Even by USC standards, the achievements were dramatic.
Alums held key creative positions on films grossing more than $7 billion worldwide and on top auteurist TV shows including Mad Men and American Horror Story (17 Emmy noms each). USC added a Comedy@SCA program to train the Paul Feigs of the future as well as a new building for the interactive media division backed by game giants EA and Microsoft that provides 62,500 square feet of new space. Princeton Review has named USC America's top game design program three years running. So why should film students care about visual effects, performance-capture labs or new Microsoft endowed professor Dennis Wixon? "We train people for the future, not the past," says Daley. "You need to take courses in interactive media and animation even if you're never going to do it. If you're a producer or director who doesn't understand VFX, you're in trouble. We're integrating our music editing into the games division." Once balkanized by discipline, students now take an intro course together. "You do learn how to do everything," says Steve Boman, '09, author of the USC memoir Film School. Another tipping point in the road to No. 1: Growing programs offer three levels of degrees, versus AFI's one.
DEGREES: B.A., M.A., MFA and Ph.D. programs in everything from film and TV to animation and interactive media
NOTABLE ALUMNI: George Lucas, Ron Howard, Jon Landau
PERTINANT QUOTATION: "Three DPs I've worked with went to USC, and when we talk about camera blocking and shot design, we easily fall into the shared language we picked up in film school. On a TV pilot, I made a reference to how we did it on the old mixing board at USC, and virtually everyone in the room perked up: sound mixer, editor, music editor, producer, various assistants. We realized that all of us had attended USC film school and had similar experiences. So talking about the work quickly turned into a lot of shorthand and head-nodding -- and grousing about professors. The mix went very smoothly." -- Michael Lehmann, director, True Blood
[Rich -- "DPs" would be "directors of photography" not "displaced persons." But you all knew that.]
The South '65 e-mail addresses: reunionclass65 . blogspot . com
The South '65 photo site: picasaweb . google . com / SouthHS65
Rich
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