#richard day

[toughpaperround]

Check out Straight Jacket, a queer film from 2004 from Richard Day.

Matt Baume has a great video explaining how this film was made, and the way it was buried (alongside a great deal of other queer media - see the new Regent list in the YT notes)

[sesiondemadrugada]

The Unknown (Tod Browning, 1927).

[kramlabs]

"If population growth didn't slow down, food shortages could be created in a hurry."

In 1969, ex-Planned Parenthood Medical Director Richard Day Prophesied How the Globalist Agendas Would Unfold

:

Via Sage :

[the-most-sublime-fool]

Then, too, at sea—to use a homely but expressive phrase—you miss a man so much. A dozen men are shut up together in a little bark, upon the wide, wide sea, and for months and months see no forms and hear no voices but their own, and one is taken suddenly from among them, and they miss him at every turn. It is like losing a limb. There are no new faces or new scenes to fill up the gap. There is always an empty berth in the forecastle, and one man wanting when the small night watch is mustered. There is one less to take up the wheel, and one less to lay out with you upon the yard. You miss his form, and the sound of his voice, for habit had made them almost necessary to you, and each of your senses feels the loss.

—a sailor's diary entry, on losing a shipmate, ca. 1834 (from Two Years Before the Mast by Richard Henry Dana Jr.)

[betryl]

Today I discovered that a couple of TSH characters were based on actual people Donna Tartt knew at Bennington College- amongst them were students Todd O'Neal and Matt Jacobsen, who were the inspiration for Henry and Bunny respectively.

AND JUST—

There's even their own comments about it and it's so funny wait:

Here's the source

[gifs-of-puppets]

Happy St. Patrick's Day!

[yourlocalabomination]

Giving the people what they demanded

[princeloww]

Did this but with david tennant characters

[dd20century]

Richard Day: The Art Director who Brought Reality to Classic Films

Artist and designer Richard Day won seven Academy Awards for art direction and was nominated for his work on thirteen other films. At one time Day was the highest-paid art director in Hollywood. (1) “He worked on 265 films between 1923 and 1970”(2). Day also served in both World War I for Canada and in World War II serving the United States. Yet today, Richard Day is largely forgotten.

Richard Day’s Life Prior to Hollywood

Richard Welsted Day was born on May 9, 1896 in Victoria, British Columbia to Patience Day and Robert Scott. Scott “was an architect who began his career in South Africa” (1). Due to a physical condition young Richard was tutored at home and never had a formal education. Early on he loved to read and displayed “a natural talent for drawing”(3). Day served in World War I as “a captain in the Canadian Expeditionary Force” (1). He met his wife during the war while serving in London. (1) The couple married in 1918 and would eventually have six children. (4)

Richard Day inspecting a model with young actress Ingrid Bergman (c. 1935). Photographer unknown. Image source.

Day Begins His Career in Hollywood

After the war ended Day returned to Canada to establish himself as a commercial artist. At his father’s suggestion, Day traveled to Hollywood in 1920 to find work in the film industry. (1) Thereafter a chance encounter with director Erich von Stroheim, Day was hired as art director on von Stroheim’s 1922 production of FOOLISH WIVES. “Day served as art director on all of von Stroheim's [silent] films thereafter” including THE MERRY WIDOW (1925) and von Stroheim's masterwork GREED (1925) (4). In addition to von Stroheim, Day also worked for director Tod Browning on the films THE UNKNOWN (1927), THE SHOW (1927), WEST OF ZANZIBAR (1928), and THE THIRTEENTH CHAIR (1929). Day served as art director on several notable silent films: THE STUDENT PRINCE IN HEIDELBERG (1927), LAUGH CLOWN LAUGH (1928), OUR DANCING DAUGHTERS (1928), and ROSE MARIE (1928) (4).

In 1929 Day parted with von Stroheim and MGM, the studio where the two had been working, and began working for independent producer Samuel Goldwyn. “He served as Goldwyn's principal art director throughout most of the 1930s. During that time, he won Academy Awards for his production design for THE DARK ANGEL (1935) and DODSWORTH (1936)” (1). According to legend Day’s designs for the slum in the iconic film, DEAD END (1937) were so realistic and seedy that Goldwyn was outraged that “his money couldn't have been used to build a better slum (1)”! “In 1935, Day was the highest-paid art director in Hollywood” (3).

Richard Day, Dodsworth's Office Set from DODSWORTH (1936), Director William Wyler. Image source.

Richard Day’s Attention to Detail

Throughout his career Day excelled in portraying the harsh realities of life through his gritty set designs in films such as GRAPES OF WRATH (1940), A STREETCAR NAMED DESIRE (1951), and ON THE WATERFRONT (1954) (5). John Ford’s production of HOW GREEN WAS MY VALLEY (1941) was originally slated to be shot on location in Wales, but because of World War II, the film was forced to be shot stateside. Day along with Nathan Juran “won an Academy Award for their efforts in creating a [mining] community” (5) in Wales in the hills of Malibu, California on the Fox Ranch. (5)

Richard Day, Welsh Mill Town set from HOW GREEN WAS MY VALLEY (1941), Directed by John Ford. Image source.

Day’s art direction was, however, incredibly versatile; his “films were lush with details.”(4) Sets Day created for the film DODSWORTH (1936) range from the modern aesthetic of Mr. Dodsworth’s corporate office to elegant European interiors, a luxury steamship stateroom, and include “a lavish Italian Villa” (5). During the 1930s Day even found time to produce lithographs, many inspired by the landscapes of Mexico (4). In 1941 Day’s photograph “Vacation in Tombstone, Arizona” was shown in “Image of Freedom” an exhibition at the Museum of Modern Art in New York City, along with other artists including Charles Sheeler and André Kertész (2).

Richard Day, Capilla No. 2, Lithograph (1930). Image source.

Richard Day's Service in World War II In 1942 the Academy of Motion Pictures Arts and Sciences awarded separate awards for color and black and white productions. That year Richard Day won Academy Awards in both categories: MY GAL SAL (Cummings) in the color category and THIS ABOVE ALL (Livak) in the black and white category.

After the United States entered World War II, Day became a US citizen in order to serve in the Marines (1). During his service Day used his artistic skills Day to “ develop camouflage designs and relief mapping techniques” (1). Day did not serve as art director on any films in 1944 or 1945, (4) but he did serve as a technical advisor on the Danny Kaye comedy UP IN ARMS (1944).

After the war Day received Oscar nominations for his work on THE RAZOR’S EDGE (1946) and JOAN OF ARC (1948). Other films he served as art director on in the late 1940s include MIRACLE ON 34TH STREET (1947), MOTHER WORE TIGHTS (1947), and THE GHOST AND MRS. MUIR (1947).

Richard Day, Tibetan Temple set from THE RAZOR'S EDGE (1941), Director Edmund Goulding. Image source.

Day Works with a New Crop of Directors in the 1950s

“In the 1950s the ‘new breed’ of…directors found Day's work well suited to their needs. Richard Day could capture the brutal snap and underlying sensitivity dominating the works of such directors as Elia Kazan (4)”. Day would win his final Academy Awards for art directions on Kazan’s iconic films A STREETCAR NAMED DESIRE (1951) and ON THE WATERFRONT (1954).

Richard Day, New Orleans courtyard set for A STREETCAR NAMED DESIRE (1951), Director Elia Kazan. Image source.

Day did, however, continue to work with legendary directors such as King Vidor on SOLOMON AND SHEBA (1959), Otto Preminger on EXODUS (1960), John Ford on CHEYENNE AUTUMN (1964), and on George Stevens’s THE GREATEST STORY EVER TOLD (1965).

TORA! TORA! TORA!

Richard Day continued working until he was 74 years old with his final film the 1970 World War II blockbuster TORA! TORA! TORA! In All Movie Guide, Hal Erickson describes the film as “a painstakingly accurate restaging of the Pearl Harbor attack, for which 20th Century Fox spent more money than the Japanese had on the original attack in 1941” (6). Day’s efforts in the film earned him his final Oscar nomination.

Richard Day’s Legacy

Richard Day’s award-winning Welsh Village set for HOW GREEN WAS MY VALLEY which had been used for several other films survived until 1962, when “it was bulldozed along with the rest of the [Twentieth Century Fox] studio backlot” (6). Day died on May 23, 1972 in Hollywood, California over 50 years after his father suggested he go to there to try his fortune (1).

In 2005 Richard Day was among the first class of inductees into the Art Directors Guild Hall of Fame. (7) Day’s papers are housed at the Academy of Motion Pictures Arts and Sciences Library. In a career that spanned more than a half-century Day’s attention to detail, realistic set designs, and ability to interpret film characters through the environments they inhabit earned him numerous awards and continue to influence contemporary film production design.

References

Wikipedia, (18 July, 2022). Richard Day (art director) https://en.wikipedia.org/wiki/Richard_Day_(art_director)

Museum of Modern Art, (n.d.). Richard Day. https://www.moma.org/artists/1418

Annex Galleries, (n.d.). Richard Day. https://www.annexgalleries.com/artists/biography/531/Day/Richard

Lee, E. C., (n.d.). Richard Day. http://www.filmreference.com/Writers-and-Production-Artists-Ch-De/Day-Richard.html#ixzz7dwqYE1B4

Whitlock, C. (2010). Designs on Film: A Century of Hollywood Art Direction. It Books.

Erickson, H. , (26 November, 2007). Richard Day, New York Times Archives. https://web.archive.org/web/20071126135712/http://movies.nytimes.com/person/86980/Richard-Day

Wikipedia (29 July, 2022). Art Directors Guild Hall of Fame. https://en.wikipedia.org/wiki/Art_Directors_Guild_Hall_of_Fame

[youstillsaiditsname]

i think i loved you, but i guess i'll never really know

joan tierney / death cab for cutie / sylvie baumgartel / the crane wives / @araekni / khalid hosseini / lev st valentine / wendy cope / richard siken (reordered)

[a7estrellas]

Welcome, MR. FANTASTIC!

[theerurishipper]

Honestly, I do love Dick as Nightwing and Bruce and Dick's complicated relationship, but sometimes I like the old days when things were sweet and simple you know? When it was just them and Alfred and they all had fun with each other. Like when they blew off boring parties to go on patrol by using Dick's bedtime as an excuse. When Bruce let Dick go off on his own and said he was allowed "a little escapade" and ruffled his hair. When Alfred always brought coffee and "turkey sandwiches with Swiss cheese" to the Batcave while Dick and Bruce happily talked about their nightlife escapades. When Dick would make Bruce laugh regularly.

When they discussed Hamlet while riding in the Batmobile. When Alfred picked Dick up from school and dropped him off on dates and helped him go behind Bruce's back on cases. When Dick and Bruce would play fight with each other. When Dick made Batman's meetings with Gordon "more optimistic." When Bruce was being a helicopter parent and wanting to know why Dick would want to go to a public school. When Dick would sneak off with Clark when Bruce wanted him to stay back to finish his homework, and Clark did it for him before Bruce noticed. When Bruce teased Dick about his failed date, and they talked about it and their love lives. When Bruce apparently told stories about Joker to Dick during rides in the Batmobile. When Dick was actually the one who named the aforementioned Batmobile. When they would banter even in between a serious case. When Dick would cling onto Bruce to annoy him. When Dick was contemplating how alone he felt, and Bruce just showed up to catch him and do a routine on the trapeze with him. When Bruce would call Dick "kiddo." When Dick even called him stuff like "Bruce-ter." When Bruce used to call Dick "chum." I miss those days.

Yeah a lot of these are from Robin: Year One but that's just because it's the one I remember most. But there's a lot of them just having a good time and it doesn't feel like we see a lot of that anymore.

[sesiondemadrugada]

Moontide (Fritz Lang & Archie Mayo, 1942).

[kramlabs]

:

[lordoftherazzles]

Bilbo and Thorin being worried about each other in the thick of danger, we love to see it ♡

[mylifeingotham]