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...Living Theatre. Staged on a huge jungle-jim with several long rectangular platforms, Frankenstein offers a multitude of technical challenges, most of which the company rises to in splendid style. Not that they are ever in complete harmony with their set, or it with them, but the interplay beween the two is worth following throughout. And a few effects, like the monster silhouette constructed out of better than a dozen individual bodies, really smother...

Author: By James Lardner, | Title: The Living Theatre: Enough Said | 11/8/1968 | See Source »

What TIME strives for is not objectivity but fairness. We know that the truth is based on an interplay between fact and opinion, and that the two are inextricable. We always try to see to it that our facts are selected through balanced judgment, that our judgments are supported by reliable facts: to this we bend all the efforts of our reporters and researchers, writers and editors. It is a fallible process; but it is open, and always subject to inspection, correction and improvement. We think it is the best process available not only for describing events but for making...

Author: /time Magazine | Title: A Letter From The Publisher: Sep. 20, 1968 | 9/20/1968 | See Source »

Following a short intermission, all six musicians reappeared on the stage, divested of jackets and ties. Their new-found comfort and relief was reflected in a superb performance of Shubert's Cello Quintet. The piece requires a back and forth interplay of plucking between the violin and cello. This was done in such a way as to give the listener the impression of a teasing, question and answer conversation between the two instruments. Not once did the piece move slowly or the sound lose its rich quality. In the Allegretto especially, the opening theme was brought back with force...

Author: By Valerie Susan, | Title: Music Series | 7/19/1968 | See Source »

...Interplay. The money alone that goes into commercial production is stupefying. Film Director Stanley Kubrick, himself something of a big spender (2001: A Space Odyssey cost $11 million), observed recently that "a feature film made with the same kind of care as a commercial would have to cost $50 million." As it is, the cost of a one-minute commercial rehearsals, filming, reshooting, dubbing, scoring, animation, printing runs to an average of $22,000 or about five times more than a minute of TV entertainment...

Author: /time Magazine | Title: Television: . . . And Now a Word about Commercials | 7/12/1968 | See Source »

...true innovators in film it is they who pack a succinct story into a few seconds and in the process produce many new cinematic ideas. The work of such directors as Michael Cimino for Kodak, Howard Zieff for Benson & Hedges and Mike Elliott for Rheingold, has precipitated an interplay of ideas that flows freely between Madison Avenue and the conventional movie set. The directors dabble with Fellini-like stream-of-consciousness techniques. Hollywood copies TV's fast cuts and odd-angle perspectives. The quality of Richard Lester's movies A Hard Day's Night, Petulia reflects his experience as director...

Author: /time Magazine | Title: Television: . . . And Now a Word about Commercials | 7/12/1968 | See Source »

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