Word: wildering
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...This is a success story," wrote Editor Reyner Banham of the British Architectural Review, "that will need Todd-AO, Dynamation, Warnercolor, Billy Wilder and a cast of millions to film, but there is one thing very odd about it. He has not gone on doing the same thing until the public has caught up. He has gone right on developing, never backtracking, rarely standing still, and quite suddenly he has met the public taste coming round the other...
...difficult evening, but some time during the long, long night Hollywood passed its crisis. Within hours everyone was cocky. Director Billy Wilder, who won the Best Picture, Best Original Writing (with I.A.L. Diamond) and Best Directing awards for The Apartment wired wickedly to Nominee Shirley MacLaine, with Liz Taylor's tracheotomy in "You may not have a hole in your windpipe, but we love you anyway " And Actress Taylor, noticeably less shaky at a post-Oscar party than she had been earlier, thoughtfully assessed Butterfield 8: "I still think it's a piece of obscenity...
...paintings were the work of tall, gaunt James Strombotne, 26, one of the most promising of the young figurative artists now working around Los Angeles. Such Hollywood-type collectors as Otto Preminger, Andre Previn and Billy Wilder own canvases by him, and so does Manhattan's Whitney Museum. Strombotne is featured in Art in America's annual "New Talent, U.S.A.," and the Pasadena Art Museum is planning the most precocious honor of all-a full-fledged retrospective next fall...
...choice would have been Cronin's. But Ted Morris, who directed the play (the program notes modestly proclaim, "The unnatural stiffness of the occasion is Ted Morris's fault"), Yoshi Shimizu, who made "all the sights for sure eyes" (i.e. the set, the costumes, and the props), and Bill Wilder, who composed "the heard melodies" transformed each of the obstacles which nature had put in their way into an advantage. The result was an effortless and delightful stylization...
...perfection. He kept the actors moving in a fluid and carefully planned ballet. Every time a step was taken, an arm raised, an eyebrow lifted, one caught a glimpse of the puppeteer behind the scenes. The balance between the medieval and the modern was made most strongly by Bill Wilder's ingenious score, which shifted gracefully from twelfth century ars antiqua to the twentieth century twelve tone scale. Shimizu's set was a black curtain whose space was miraculously filled with a few flowing white splotches; his props were colored cardboard; and even his costumes were abstractions of Medieval clothing...