Talk:Rudolph Cartier

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[edit] GA Review

GA review (see here for criteria)
  1. It is reasonably well written.
    a (prose): b (MoS):
  2. It is factually accurate and verifiable.
    a (references): b (citations to reliable sources): c (OR):
  3. It is broad in its coverage.
    a (major aspects): b (focused):
  4. It follows the neutral point of view policy.
    a (fair representation): b (all significant views):
  5. It is stable.
  6. It contains images, where possible, to illustrate the topic.
    a (tagged and captioned): b lack of images (does not in itself exclude GA): c (non-free images have fair use rationales):
  7. Overall:
    a Pass/Fail: [[Image:|15px]]--Rmky87 07:27, 26 February 2007 (UTC)

[edit] Two things

A coupla things:

  • "Barry felt that the dialogue was not quite right ..." Specifics about what Kneale changed would be good
  • "For Quatermass II, he pre-filmed a significant amount of material on location on 35 mm film, expanding the drama away from the usual studio-bound television settings with the most ambitious location shooting that had yet been attempted in British television." Confusing - why is filming on location ambitious?

Λυδαcιτγ 19:58, 18 May 2007 (UTC)

  • If I recall, Kneale said to his biographer that Cartier's dialogue was "too Germanic" and not naturally English-sounding — I'll try and dig out the quote. As for the location filming, it's mentioned in the section you quote that British television was almost entirely studio-shot at the time. There's more about this in the "Legacy" section. I'm not sure how to reword it to make it clearer? Angmering 06:42, 19 May 2007 (UTC)
  • The wording's fine, but the difference between on location shooting and studio shooting - and the reason why the former was more ambitious - is unclear to me. Λυδαcιτγ 20:18, 19 May 2007 (UTC)
  • The studio material was all done live on the night with electronic video cameras in a multi-camera set-up, after having been rehearsed by the cast and crew for a week or so beforehand. (Sort of in the same way they still make many sitcoms today, except of course they're pre-recorded). The location shooting was done beforehand on 35 mm film on a single camera, with each shot set up separately, in the conventional filming manner, which was much more time-consuming and expensive but tended to look a lot nicer and obviously opened the action out a lot more. For instance, with Cartier in, say, Nineteen Eighty-Four he has lots of location shots of Peter Cushing walking through desolate, bombed-out areas (of which there were handily many still kicking around in London of the 1950s!), which look suitably epic and bleak, whereas directors beforehand might well have saved the time, effort and money of location shooting by just having him walk past a painted backdrop of a ruined building in studio, or just not bothered including such shots at all. Angmering 20:48, 19 May 2007 (UTC)
  • OK, I understand. I tried to make the point that the studio setting is confined more clear: "expanding the drama away from a confined studio setting with the most ambitious location shooting..." Λυδαcιτγ 23:39, 19 May 2007 (UTC)

[edit] FA

Looks ready for FA to me. Only clear fault is a lack of images - would a fair use screenshot from (say) 1984 be appropriate? Λυδαcιτγ 23:54, 19 May 2007 (UTC)

I couldn't find a decent one from the Nineteen Eighty-Four clips I have available to grab from (limited to a documentary on Kneale's career, as the production itself is sadly not available on DVD and, due to the wishes of the Orwell Estate, will probably won't be for the forseeable future) so I've used a shot from Quatermass II instead. Any better? Angmering 09:35, 20 May 2007 (UTC)
Much. Λυδαcιτγ 02:21, 21 May 2007 (UTC)