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Extra info for Diana Krall (Pvg)
We’ve got a perfectly good recording of the music. Why not just play the record and have the dancers go through the number? ” When Thalberg was assured the process would work, he gave his okay and thus inaugurated the “prerecording” and “playback” system whereby most songs would be filmed thereafter. The performers would prerecord their songs in the sound studio to get the finest vocal performance and sound quality. Then, during filming, they would lip-synch to their own prerecorded song. After four weeks of hectic filming, The Broadway Melody was ready for distribution early in 1929.
Such is the moment when I for one suddenly realised that the end of silent drama is in sight. Attendance, critical reviews, and profits of $3 million on a film that cost $500,000 to make forced other studios sit up and take notice of the possibilities of sound—and song—in film. —plunged into the production of talking pictures. ” “Studios would have to be rebuilt,” added Jesse Lasky. “We have too big an investment in the silent picture,” pronounced Universal head Carl Laemmle. At MGM, Louis B. Mayer was content to let Warner Bros.
By contrast, two young California songwriters, Arthur Freed and Nacio Herb Brown, sang their songs at a piano. “I like your songs better,” Thalberg announced, perhaps hearing in them the more informal and casual air that distinguishes film songs from songs written for the Broadway stage. Before Thalberg made his final decision, however, he wanted to hear the Freed and Brown songs with a full orchestra. At radio station KFI, the studio orchestra backed the songwriters, but it was still Brown at the piano and Freed singing the numbers in his untrained baritone.
Diana Krall (Pvg) by Wise Publications