Eugene Kal Siskel was an American film critic and journalist for the Chicago Tribune. Along with colleague Roger Ebert, he hosted a series of popular review shows on television from 1975 to 1999. Siskel was born in Chicago and was the son of Ida and Nathan William Siskel, his parents were Russian Jewish immigrants. Siskel was raised by his uncle after both his parents died when he was ten years old, he attended Culver Academies and graduated from Yale University with a degree in philosophy in 1967, where he studied writing under Pulitzer Prize-winning author John Hersey, who helped him land a job at the Chicago Tribune in 1969. His first print review was for the film Rascal, written one month before he became the paper's film critic. Siskel served in the US Army Reserve, graduating from basic officers training in early 1968 and serving as a military journalist and public affairs officer for the Defense Information School. In 1975, Siskel teamed up with Roger Ebert, film reviewer for the Chicago Sun-Times, to host a show on local Chicago PBS station WTTW which became Sneak Previews.
Their "thumbs-up, thumbs-down" system soon became an recognizable trademark, popular enough to be parodied on comedy shows such as Second City Television, In Living Color, in movies such as Hollywood Shuffle and Godzilla. Sneak Previews gained a nationwide audience in 1977 when WTTW offered it as a series to the PBS program system. Siskel and Ebert left PBS in 1982 for syndication, their new show, At the Movies, was produced and distributed by Tribune Broadcasting, the parent company of the Chicago Tribune and WGN-TV. Sneak Previews continued on PBS for 14 more years with other hosts. In 1986, Siskel and Ebert left Tribune Broadcasting to have their show produced by the syndication arm of The Walt Disney Company; the new incarnation of the show was titled Siskel & Ebert & the Movies, but shortened to Siskel & Ebert. At the Movies continued a few more years with other hosts. A early appearance of Siskel, taken from Coming Soon to a Theatre Near You, the predecessor to Sneak Previews, is included in For the Love of Movies: The Story of American Film Criticism.
In this 2009 documentary film, he is seen debating with Ebert over the merits of the film version of One Flew Over the Cuckoo's Nest. Siskel and Ebert would refuse to guest-star in movies or television series, except for talk shows, as they felt it would undermine their "responsibility to the public". However, they both "could not resist" appearing on an episode of the animated television series The Critic, the title character of, a film critic who hosted a television show. In the episode and Ebert split and each wants Jay Sherman, the eponymous critic, as his new partner, they once appeared in an episode of the children's television series Sesame Street. Siskel appeared as himself on an episode of The Larry Sanders Show. Siskel was diagnosed with a cancerous brain tumor on May 8, 1998, he underwent brain surgery three days later. He had announced on February 3, 1999 that he was taking a leave of absence but that he expected to be back by fall, stating: "I'm in a hurry to get well because I don't want Roger to get more screen time than I."Siskel died from complications of another surgery on February 20, at the age of 53.
The last film that Siskel reviewed on television with cohost Ebert was The Theory of Flight on January 23, 1999. The final film that he reviewed in print was the Freddie Prinze Jr. romantic comedy She's All That, which he gave a favorable review. Siskel was a diehard Chicago sports fan of his hometown basketball team, the Chicago Bulls, would cover locker-room celebrations for WBBM-TV news broadcasts following Bulls championships in the 1990s. Siskel was a member of the advisory committee of the Film Center at the School of the Art Institute of Chicago, a strong supporter of the Film Center mission, he wrote hundreds of articles applauding the Film Center's distinctive programming and lent the power of his position as a well-known film critic to urge public funding and audience support. In 2000, the Film Center was renamed The Gene Siskel Film Center in his honor. One of his favorite films was Saturday Night Fever. Another all-time favorite was Dr. Strangelove. and a favorite from childhood was Dumbo, which he mentioned as the first film that had an influence on him.
On the other hand, Siskel said that he walked out on three films during his professional career: the 1971 comedy The Million Dollar Duck starring Dean Jones, the 1980 horror film Maniac, the 1996 Penelope Spheeris film Black Sheep. Siskel compiled "best of the year" film lists from 1969 to 1998, which helped to provide an overview of his critical preferences, his top choices were: From 1969 until his death in early 1999, he and Ebert were in agreement on nine top selections: Z, The Godfather, The Right Stuff, Do the Right Thing, GoodFellas, Schindler's List, Hoop Dreams, Fargo. There would have been a tenth, but Ebert declined to rank the documentary Shoah as 1985's best film because he felt it was inappropriate to compare it to the rest of the year's candidates. Seven times, Siskel's #1 choice did not appear on Ebert's top ten list at all: Straight Time, Once Upon a Time in America, The Last Emperor, The Last Temptation of Christ, Hearts of Darkness, The Ice Storm. Six times, Ebert's top selection did not appear on Siskel's.
Only once during his long association with Ebert did Siskel change his vote on a movie dur
Cannonball Run II
Cannonball Run II is a 1984 American–Hong Kong comedy film starring Burt Reynolds and an all-star cast, released by Warner Bros. and Golden Harvest. Like the original Cannonball Run, it is a set around an illegal cross-country race; this was the last of the "formula" comedies for Reynolds. It marked the final feature film appearances of Dean Martin and Frank Sinatra, their appearances, coupled with those of Sammy Davis Jr. and Shirley MacLaine, marked the final on-screen appearance of the old Rat Pack team. The film featured Jackie Chan in one of his first Hollywood roles. Having lost the first Cannonball Run race, Sheik Abdul ben Falafel is ordered by his father to go back to America and win another Cannonball Run in order to "emblazon the Falafel name as the fastest in the world." When Sheik Abdul points out that there is no Cannonball Run that year, his father tells him to "buy one." To make sure his ulcer does not prevent him from winning, the Sheik hires Doctor Nikolas Van Helsing, who teamed with JJ and Victor in the first race as his in-car physician.
Most of the participants from the first race are lured back, including JJ and Victor, who have taken jobs working with a flying stunt crew. In a subplot and Fenderbaum are in financial trouble with Don Don Canneloni, who in turn is in financial trouble with mob enforcer Hymie Kaplan. After the Sheik manages to bail out Blake and Fenderbaum by handing one of Don Don's thugs a stack of cash, Don Don hatches a plot to kidnap the Sheik in an attempt to extort money from him; the race begins with Victor dressed as a US Army general and his driver, a private. They catch the attention of Betty and Veronica, who are dressed as nuns for a musical, but remain in character and hitch a ride with JJ and Victor when they think the guys could become overnight millionaires, they do not lose their habits until later. Other racers include Mitsubishi engineer Jackie Chan, teamed with a giant behind the wheel in a car—a Mitsubishi Starion—able to go under water. In a red Lamborghini with "two great-looking chicks in it" is the duo of Jill Rivers and Marcie Thatcher.
Another team is accompanied by an orangutan. They are pulled over at one point by traffic cops Tim Don Knotts. JJ and Victor stop along the way to help Homer Lyle, they get much better acquainted with their passengers and Veronica, who change into something a little more comfortable. Don Don's enforcers continue to blunder with disastrous results. After Don Don's gang capture the Sheik, the racers band together to invade Don Don's "Pinto Ranch". JJ, Fenderbaum infiltrate it in drag, dressed as belly dancers. Others barrel in by car and rescue the Sheik, reluctant to leave, since he has his pick of women there; the three "dancers" and Blake go to their Leader to seek help, only to have him jump into the race himself. In the end, the Sheik bankrolls Don Don's Ranch and declares that he is upping the stakes to $2 million for the winner. All jump into their vehicles and make a dash for the finish line, avoiding traffic patrollers on the way; the Sheik, as it turns out, loses yet again, this time blaming the doctor who rode with him for injecting him with an unknown substance.
But he convinces his father that he will win the return-trip race, having hired the winner of this one. It turns out to be the orangutan with a penchant for destructive behavior and giving elderly ladies the middle finger. Director Hal Needham appears uncredited as a Porsche 928 driver in a cowboy hat, whose car is crushed flat in the movie by the monster truck, Bigfoot Jaclyn Smith was meant to be the female lead but dropped out. "I think she was scared to death to be up there against Burt and Dom," said Needham claiming Smith was worried about his improvisational style. "I don't want someone on the set. So we went somewhere else." She was replaced by Shirley Maclaine. Frank Sinatra agreed to do a cameo at the suggestion of Martin. Needham wrote three versions of the script for him - one where he could work a week, another where he did two days, one where he could do his scene in a day, he picked the latter. He was paid $30,000, it was the first film he had made in three years and the first time he had reunited with Rat Pack members professionally or in three years.
Needham says he did his scene with minimal fuss. Part of the film was shot near Tuscon Arizona. In North America, after the tenth highest 1984 opening weekend of US$8.3 million, Cannonball Run II slowed down, becoming the 32nd most popular 1984 film at the US and Canada box office with a total lifetime gross of US$28 million, less than half the takings of the first Cannonball Run. According to one review of the film, Cannonball Run II still turned a healthy profit, the reviewer attributing the film's financial success to preselling; the film had more success overseas. In Japan, it was the second highest-grossing foreign film of grossing ¥ 2.96 billion. In Germany and France, the film drew 3,748,167 box office admissions; the film had a total worldwide gross of US$56.3 million. Cannonball Run II was met w
The Lillywhite Sessions
The Lillywhite Sessions is a collection of songs recorded by Dave Matthews Band in 1999 and 2000 and produced by Steve Lillywhite. The songs, recorded by the band as a follow-up to their 1998 album Before These Crowded Streets, were scrapped by the band's label. Upon being forced by the label to abandon the album-in-progress, Dave Matthews was assigned to work with producer Glen Ballard who, in association with Matthews, wrote the album Everyday in just ten days; this contrasted with the band's prior style of writing, which included significant collaboration between the band members in the studio. The recordings emerged on the Internet shortly after the release of Everyday, created controversy among fans as well as the music industry, early in its campaign to curb illegal file downloads; the Lillywhite Sessions were never released, but most of the songs were recorded for their 2002 album Busted Stuff. "Busted Stuff" – 4:05 "Grey Street" – 5:53 "Diggin' a Ditch" – 4:24 "Sweet Up and Down" – 4:43 "JTR" – 5:36 "Big Eyed Fish" – 5:16 "Grace Is Gone" – 5:12 "Captain" – 5:27 "Bartender" –10:07 "Monkey Man" – 7:21 "Kit Kat Jam" – 4:00 "Raven" – 6:24Also recorded but cut from the album is'Build You a House'.
The album was supposed to be produced in the manner of the band's prior three, all of, produced by Steve Lillywhite. Having recorded Dave Matthews Band in studios in New York City, New York and Sausalito, Lillywhite had an established relationship with its members. For this album, the band purchased a house near their hometown of Charlottesville and converted a portion of it into a recording studio; the band tried some new things, including Matthews playing a twelve string guitar. In early 2000, Lillywhite posted a report on the band's website with details about the session-in-progress, saying that the band had recorded a number of new songs, including "Sweet Up and Down," and had reworked a song which the Dave Matthews Band performed with Santana in 1999, "John the Revelator," retitling it "JTR." During the recording of the sessions, RCA Records executive Bruce Flohr asked drummer Carter Beauford about his feelings about the songs at that point, to which he replied that he "didn't feel it" and was certain that the other band members "didn't feel it" either, implying that the recordings were not going in the direction in which the band had intended.
The songs, recorded at that point were dark, which Dave Matthews claimed was inspired by his alcohol consumption during the sessions, inspiring him to write "sad bastard songs" that were full of pity." Inspired pity, self pity, or pity for the sad bastard that wrote them. I felt like I was in the process of letting everyone down. In the process of not supplying the band with songs, not giving the producer the music, not giving the record company tunes—so inside that environment, I was continuing to do just that, come up with these sad bastard songs." The album was scheduled for release in the second half of 2000. The band decided to scrap the sessions, perform their summer tour without a completed album to support; the band played a number of new songs that summer from those sessions, including "Grey Street," "Raven," "Sweet Up and Down," "Grace Is Gone," "Bartender," "Digging a Ditch" and the reworked "JTR." Although Rolling Stone referred to The Lillywhite Sessions' original title as The Summer So Far, the album was never intended to be titled as such.
The title The Summer So Far was the name of the band's most current recording of the sessions, dubbed by engineer Stephen Harris, who produced Busted Stuff. Dave Matthews himself has claimed in several interviews that he intended to title the final album Busted Stuff, which he did when the band went back in the recording studio in 2002 to re-record the album; the title Lillywhite Sessions was dubbed by fans, the name stuck. "When we stopped recording for the band to start their summer tour, I returned to England with one of the eight CDs that I had made. Five for the Band, one for, one for Bruce Flohr, the one for myself and had written on them'the summer so far'. We only did that because all the other CDs that I had made up to I had called'the story so far'.'The summer so far' was never going to be an album title, by the way, just a way to distinguish what was the most up-to-date CD." During the tour, Matthews was introduced to producer Glen Ballard, discussed completing the shelved Sessions.
During the time they spent together and Ballard wrote an entire album of new songs before the rest of the band had joined them. The album, which featured electric guitar by Matthews and a minimal use of the rest of the band, was released in February 2001 as Everyday. In March 2001, Craig Knapp, the lead singer of Dave Matthews Band cover band "Ants Marching," received a CD from a friend containing the lost Lillywhite Sessions, he contacted producer Steve Lillywhite via e-mail inquiring what to do with the tracks, posted his message on the message boards at Dave Matthews Band fan site "DMBML." Hello Mr. Lillywhite,I thank you in advance for taking the time to read this E-mail. I have unintentionally placed myself in a precarious situation. About a week ago, I received an E-mail from a DMB fan who claimed they had some unreleased material from the new Dave Matthews Band CD, he asked if I wanted a copy, I said yes, thinking it was going to be acoustic takes from "Everyday." In any event, I received a package yesterday, it was indeed the session that you and DMB recorded in Virginia.
I love it much, excellent work. I am blessed to receive this g
Smokey and the Bandit II
Smokey and the Bandit II is a 1980 American action comedy film directed by Hal Needham, stars Burt Reynolds, Sally Field, Jerry Reed, Jackie Gleason and Dom DeLuise. The film is the sequel to the Bandit; the film was released in the United Kingdom, New Zealand and several other Commonwealth countries as Smokey and the Bandit Ride Again. Early video releases and TV broadcasts used this title, but in more recent years have reverted to the original U. S. title. It was followed by a sequel three years Smokey and the Bandit Part 3, in which Reynolds appeared only in a brief cameo appearance, Sally Field was absent completely; the plot centers on Bo "Bandit" Darville and Cledus "Snowman" Snow, transporting an elephant to the GOP National Convention, with Sheriff Buford T. Justice in hot pursuit once again. Big Enos Burdette is running for Governor of Texas against John Coen. After a figurative and literal "mudslinging," both are confronted by the outgoing governor and given a thorough tongue-lashing.
Burdette overhears the governor yelling at an assistant to take responsibility for transporting a crate of unknown content from Miami to the Republican Party convention in Dallas. Burdette schemes to deliver the crate to the convention, he enlists Cledus to carry out the task. Cledus attempts to convince the Bandit to "do it one last time." In the time since their previous challenge, the Bandit has split from his love interest Carrie, a.k.a. "Frog", become an alcoholic. The Bandit is said to be "the only man in the world to drink up a Trans Am." Cledus seeks the help of Frog to encourage the Bandit to sober up, since Big Enos has raised the stakes to $400,000. Frog abandons her second attempt at marrying Buford T. Justice's son Junior, she is persuaded more by the money than her love for Bandit. She buys him a 1980 Pontiac Trans Am named "Son of Trigger," powered by the Pontiac 301 Turbo, by trading in Junior's car. A race ensues as the trio once again tries to outwit Justice and Junior, they make it to Miami with little trouble fooling a Florida Highway Patrol speedtrap along the way.
Their cargo is in quarantine for three weeks, they need to get it to Dallas in three days. When they steal it, the mysterious cargo turns out to be an elephant, whom they name Charlotte after Snowman says she reminded him of his Aunt Charlotte and smelled like her, too; when Cledus opens the crate, Charlotte nearly tramples Frog. The Bandit saves the day by doing a backflip onto the elephant's back and riding her out of the quarantine shed. Noticing a splinter stuck in her foot, the Bandit removes it, the elephant takes a shine to him. Cledus fears, they meet an Italian gynaecologist at a gas station. The doctor sees his ambulance driver speed away, leaving him stranded. After the Bandit and Cledus bribe him, he agrees to ride in the truck with the elephant. Charlotte is discovered to be pregnant; as they try to make Burdette's deadline, the doctor pleads with the Bandit for some time off so Charlotte can rest off. He reluctantly gives in twice. At a restaurant, she sees him scribbling on a napkin a picture of Charlotte cradled by suspended netting to keep her off of her feet.
She leaves. The Bandit follows and Frog says when he likes himself again, she would consider seeing him again. Bandit makes his drawing a reality, in a near drunken stupor; the doctor agrees. In pursuit, Justice enlists the help of his brothers, Reginald Van Justice from Quebec, Gaylord Justice, with both played by Gleason in a triple role. Justice lures the Bandit into a valley, with a line of Mounties on one hillside, Texas Rangers, in white cars, on the other. Bandit orders Cledus to continue delivering Charlotte to Dallas. Cledus returns with a convoy of trucks to help destroy all of the police cars. After the mass destruction, only Buford and Reginald come out unscathed. Bandit and Cledus escape by driving across a bridge of tractor trailers; as the Justices follow, a trailer pulls out. Buford's car is still operable, though missing its doors and roof. Justice and Junior drive off the road, throwing Junior into a pond; when asked what he was thinking about, Buford says, "Retiring." Bandit informs Frog he likes himself again, that he does not want to spend the rest of his life without her.
When she asks about Burdette's bet, he says. He shows her baby in circus-like chariots. Frog is overjoyed. Bandit asks Charlotte, they drive away with Charlotte and her baby with Buford pursuing them in a bus. Burt Reynolds as Bo Darville Jackie Gleason as Sheriff Buford T. Justice, Gaylord Justice and Reginald Van Justice Jerry Reed as Cledus "Snowman" Snow Dom DeLuise as Dr. Frederico "Doc" Carlucci Sally Field as Carrie Paul Williams as Little Enos Burdette Pat McCormick as Big Enos Burdette David Huddleston as John Coen Mike Henry as Junior Justice John Anderson as Governor Brenda Lee as Nice Lady Phil Balsley as Himself Lew DeWitt as Himself Don Reid as Himself Harold Reid as Himself (
Video is an electronic medium for the recording, playback and display of moving visual media. Video was first developed for mechanical television systems, which were replaced by cathode ray tube systems which were replaced by flat panel displays of several types. Video systems vary in display resolution, aspect ratio, refresh rate, color capabilities and other qualities. Analog and digital variants exist and can be carried on a variety of media, including radio broadcast, magnetic tape, optical discs, computer files, network streaming. Video technology was first developed for mechanical television systems, which were replaced by cathode ray tube television systems, but several new technologies for video display devices have since been invented. Video was exclusively a live technology. Charles Ginsburg led an Ampex research team developing one of the first practical video tape recorder. In 1951 the first video tape recorder captured live images from television cameras by converting the camera's electrical impulses and saving the information onto magnetic video tape.
Video recorders were sold for US $50,000 in 1956, videotapes cost US $300 per one-hour reel. However, prices dropped over the years; the use of digital techniques in video created digital video, which allows higher quality and much lower cost than earlier analog technology. After the invention of the DVD in 1997 and Blu-ray Disc in 2006, sales of videotape and recording equipment plummeted. Advances in computer technology allows inexpensive personal computers and smartphones to capture, store and transmit digital video, further reducing the cost of video production, allowing program-makers and broadcasters to move to tapeless production; the advent of digital broadcasting and the subsequent digital television transition is in the process of relegating analog video to the status of a legacy technology in most parts of the world. As of 2015, with the increasing use of high-resolution video cameras with improved dynamic range and color gamuts, high-dynamic-range digital intermediate data formats with improved color depth, modern digital video technology is converging with digital film technology.
Frame rate, the number of still pictures per unit of time of video, ranges from six or eight frames per second for old mechanical cameras to 120 or more frames per second for new professional cameras. PAL standards and SECAM specify 25 frame/s. Film is shot at the slower frame rate of 24 frames per second, which complicates the process of transferring a cinematic motion picture to video; the minimum frame rate to achieve a comfortable illusion of a moving image is about sixteen frames per second. Video can be progressive. In progressive scan systems, each refresh period updates all scan lines in each frame in sequence; when displaying a natively progressive broadcast or recorded signal, the result is optimum spatial resolution of both the stationary and moving parts of the image. Interlacing was invented as a way to reduce flicker in early mechanical and CRT video displays without increasing the number of complete frames per second. Interlacing retains detail while requiring lower bandwidth compared to progressive scanning.
In interlaced video, the horizontal scan lines of each complete frame are treated as if numbered consecutively, captured as two fields: an odd field consisting of the odd-numbered lines and an field consisting of the even-numbered lines. Analog display devices reproduce each frame doubling the frame rate as far as perceptible overall flicker is concerned; when the image capture device acquires the fields one at a time, rather than dividing up a complete frame after it is captured, the frame rate for motion is doubled as well, resulting in smoother, more lifelike reproduction of moving parts of the image when viewed on an interlaced CRT display. NTSC, PAL and SECAM are interlaced formats. Abbreviated video resolution specifications include an i to indicate interlacing. For example, PAL video format is described as 576i50, where 576 indicates the total number of horizontal scan lines, i indicates interlacing, 50 indicates 50 fields per second; when displaying a natively interlaced signal on a progressive scan device, overall spatial resolution is degraded by simple line doubling—artifacts such as flickering or "comb" effects in moving parts of the image which appear unless special signal processing eliminates them.
A procedure known as deinterlacing can optimize the display of an interlaced video signal from an analog, DVD or satellite source on a progressive scan device such as an LCD television, digital video projector or plasma panel. Deinterlacing cannot, produce video quality, equivalent to true progressive scan source material. Aspect ratio describes the proportional relationship between the width and height of video screens and video picture elements. All popular video formats are rectangular, so can be described by a ratio between width and height; the ratio width to height for a traditional television screen is 4:3, or about 1.33:1. High definition televisions use an aspect ratio of 16:9, or about 1.78:1. The aspect ratio of a full 35 mm film frame with soundtrack is 1.375:1. Pixels on computer monitors are square, but pixels used in digital video have non-square aspect ratios, such as those used in the PAL and NTSC variants of the CCIR 601 digital video
A demo is a song or group of songs recorded for limited circulation or reference use rather than for general public release. A demo is a way for a musician to approximate their ideas in a fixed format, such as cassette tape, compact disc, or digital audio files, to thereby pass along those ideas to record labels, record producers, or to other artists. Musicians use demos as quick sketches to share with bandmates or arrangers or for personal reference during the songwriting process. Demos are recorded on crude equipment such as "boom box" cassette recorders, small four-track or eight-track machines, or on personal computers with audio recording software. Songwriters' and publishers' demos are recorded with minimal instrumentation - just an acoustic guitar or piano, the vocalist. Both Elton John and Donovan gained studio experience early in their careers by recording publishers' demos for other artists, since their managers handled music publishing, as did Garth Brooks, so impressed when recording the demo of "Friends in Low Places" that he asked to release the song himself.
Many unsigned bands and artists record demos. These demos are sent to record labels in hopes that the artist will be signed onto the label's roster and allowed to record a full-length album in a professional recording studio. However, large record labels ignore unsolicited demos that are sent to them by mail. Many signed artists record demos of new songs before recording an album; the demos may allow the artist to provide sketches for sharing ideas with bandmates, or to explore several alternate versions of a song, or to record many proto-songs before deciding which ones merit further development. Demos may include as few as one or two songs or as many as would be contained on a full-length album. Demo recordings are heard by the public, although some artists do release rough demos in rarities compilation albums or box sets, such as the album Demolicious by Green Day. Other demo versions have been unofficially released as bootleg recordings, such as The Beatles' The Beatles Bootleg Demos and the Beach Boys Sea of Tunes series.
Several artists have made official releases of demo versions of their songs as albums or companion pieces to albums, such as Florence and the Machine and Cults on the EP Sunday Jams. The event of a demo tape appearing on eBay has happened in the past, with the recordings being leaked onto the internet. In rare instances, a demo may end up as the final released recording of a song, as was the case with Foster the People's "Pumped Up Kicks"; the version of "Pumped Up Kicks", released as a single and subsequently became a hit was a demo recorded by frontman Mark Foster alone, before he had formed the group. In 1982, Bruce Springsteen recorded ten demo songs in his New Jersey bedroom that he intended to record with his E Street Band, but he subsequently decided that he preferred the acoustic demos, released them as the 1982 album Nebraska. In more underground forms of music, such as noise music, black metal or punk, demos are distributed by bands to fans as self-releases, or sold at a low price.
Amateur musicians may choose to make demos available to interested listeners through websites such as SoundCloud or Bandcamp in order to share new ideas, receive feedback and/or provide fans with "behind the scenes" access to the songwriting process. Collection of Demo Covers Music From the Demo Scene
Don't Tell Everything
Don't Tell Everything is a 1921 American silent drama film directed by Sam Wood and starring Gloria Swanson and Wallace Reid. Wood created this film in part from outtakes left over from Cecil DeMille's The Affairs of Anatol; as described in a film magazine, Cullen Dale becomes engaged to Marian Westover, when explaining various photographs showing him intimately juxtaposed between divers young women, spreads a network of falsehoods which promise to involve him in subsequent difficulty. One photograph shows him with Jessica Ramsey, a sportswoman who calls her men friends "pals." Learning of Cullen's engagement, she courts his company so that the piqued Marian precipitates a secret marriage. The honeymoon is interrupted by a quarrel which terminates with Cullen's departure for Jessica's hunting lodge. Here Jessica's love-making becomes obvious and the arrival of wife Marian and their mutual friend Harvey Gilroy finds Cullen ready to patch up their differences. After a suitable delay, Marian allows him to do so, with a happy ending ensuing.
Wallace Reid as Cullen Dale Gloria Swanson as Marian Westover Elliott Dexter as Harvey Gilroy Dorothy Cumming as Jessica Ramsey Genevieve Blinn as Mrs. Morgan K. T. Stevens as Cullen's niece Charles De Briac as Morgan Twin Raymond De Briac as Morgan Twin It is not known whether the film survives. List of lost films Don't Tell Everything on IMDb Synopsis at AllMovie Film stills and poster at silenthollywood.com