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Word: studioful (lookup in dictionary) (lookup stats)
Dates: during 1990-1999
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Usage:

...director win against a studio? Maybe. Robert Altman's cut for The Gingerbread Man didn't get the response at test screenings that PolyGram wanted. So, although Altman threatened to take his name off the film, the studio had a new editor chop off eight minutes. But the new cut tested only a little better. The studio chose to keep the Altman version--and his name...

Author: /time Magazine | Title: People: Sep. 22, 1997 | 9/22/1997 | See Source »

Artists in all media know that a touch of imperfection--a barely missed beat, Streisand's nose--can breathe life into a work. But perfectibility is the Promethean temptation of Hollywood's computer-graphics revolution, which is giving movies a glossy hyperreality unseen since the heyday of the studio system while distracting us from their essential soullessness. And if the computer's single greatest achievement to date has been the astonishingly life-like dinosaurs of the astonishingly lifeless Jurassic Park and The Lost World, creating digital humans of similar believability remains the industry's Holy Grail...

Author: /time Magazine | Title: HAVE GIGABYTES, WILL ACT | 9/1/1997 | See Source »

DIED. LEO JAFFE, 88, successful Columbia Pictures chairman who helped steer the studio past the rough shoals of a 1970s financial scandal involving Columbia's president; in New York City. Hits during his tenure included Kramer vs. Kramer and Close Encounters of the Third Kind...

Author: /time Magazine | Title: Milestones Sep. 1, 1997 | 9/1/1997 | See Source »

...Moskowitz. They are anguished home movies of actors searching for the precise pitch of rage or love. The films mean to grapple with painful truth, but it can seem ages between epiphanies. A Cassavetes movie often plays like two hours in the waiting-waiting-waiting room of the Actors Studio...

Author: /time Magazine | Title: CINEMA: IF JOHN COULD SEE THEM NOW... | 8/25/1997 | See Source »

Putting a show on the air in these infant years was a work of art, craft and athletic endurance. A tiny studio held three sets and three bulky cameras, whose lights pushed the thermometer up to 100 degrees; technicians could lose eight to 10 lbs. per show. The actors had to make every mark, remember every line and, between scenes, rush from one set to another without tripping over the miles of fat camera cable. Coe had to keep it all moving smoothly, cue the camera for commercials (shot live in the same studio) and, if the show ran long...

Author: /time Magazine | Title: BOOKS: HOW GOLDEN WAS IT? | 8/18/1997 | See Source »

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