We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
Bells
p.c. Coco Film Production 1 Inc. exec. p. Stanley Colbert p. Robert Cooper co-p. Brian Walker assoc. p. Michael Hadley d. Michael Anderson p. man. Phil McPhedran v.p. of finance Greg Sneyd p. acc. Heather McIntosh, Lyn Lucibello(asst) loc. man. Lee Knippelberg, Marc Dassas (asst.) p. sec. Suzanne Lore a.d. Steve Wright, Libby Bowden (2nd), Don Baldassarri (3rd) p.a. Roman Buchok, Michael Curran, Simon Clery cont. Penny Hynam d.o.p. Reginald Morris cam.op. Jimmy Turrell, Peter Luxford asst. cam. Gordon Langevin (1st), Wendy i (2nd) stills Shin Sugino cable puller Andy Langfuin sd.mix. Peter Shewchuk boom Herb Heritage p. des. Seamus Flannery art Rose Marie McSherry (asst), Roberta King (trainee) draftsman Roderick Hilliec set dec. Joyce Ligget, Don McQueen (asst.) prop. mas. Mark Freeborn, Paul Harding (asst.) ward. des. Lynne MacKay, Warehouse ward. mist. Nadia Ongaro ward. asst. Gail Filman make-up Maureen Sweeney (superv.), Carol Davidson (asst.) hair Paul LeBlanc (stylist), Malcolm Tanner (asst.) ed. Martin Pepler, Penny Hozy (asst) gaf. Chris Holmes best boy (elec. dept.) Tony Eldridge elec. Sam Hughes, John amy Herb Reische key arip on Gillham best boy (grip dept.) Glen Goodchild grip Wayne Goodchild, John Davidson spec. efx. Bill Myatt, Henry Piersig, Kenneth Estes construc. superv. Jim Byrne painter Jimmy Williams stunt coord. Bob Hannah transp. co-ord. Pat Brennan captain Nick Sweetman craftservice Brad Blackwood casting Walker-Bowen extra casting Film Extra Services, Peter Lavender I.p. Richard Chamberlain, John Houseman, Sara Botsford, Robin Gammell, Gary Reineke unit pub. Prudence Emery
Richard Chamberlain, on the set of Bells is enthusiastic about his role as the ex-’60s radical, and small-town-profturned-investigator of a mysterious murder — the victim is killed by a signal transmitted by telephone, which then melts the receiver in the victim’s hand. Different.
“What a pleasure working with this fabulous crew, director, producer and script,” says Chamberlain who, at first glance, appears to be a dashing assistant director — so lightly does he banter with the crew — rather than the serious actor he has prover himself to be in The Music Lovers, Petulia, The Three Musketeers.
2/October-November 1980
Director Michael Anderson (2nd from right) gesturing instructions to actors Richard Chamberlain (centre) and Jefferson Mappin (far left) on location with Bells.
The idyllic setting of Valley Halla, an impressive stone mansion (circa 1920), on the site of the original Toronto Zoo, is many technological revolutions away from the exotic locale of Chamberlain’s last project, Shogun. After six and a half months in Japan this story must seem like a piece of cake although he protests that nothing has ever been easy for him, specializing, as he does, in complex, challenging roles.
The TV response to Shogun should set up the audience nicely for Bells’ projected spring release. Already the timing appears to have cast a magic spell of good will; a dream production, a well-knit crew, knowledgeable producers and an able, respected director. No shouts, no pouts, no hisses. An MGM production.
Director Michael Anderson (Around The World In Eighty Days, Logan’s Run, The Martian Chronicles), recently wed to a Vancouverite and now a landed immigrant, promises an exciting commercial thriller from an “excellent
screenplay’ by Canadian John Kent Harrison.
The outline itself was picked out by executive producer Stan Colbert (Riel, Sidestreet, Crossbar), and producer Robert Cooper (State Of Shock, Running, Middle Age Crazy), from a trash/ treasure trove of properties orphaned by a corporate squabble at First Artists — a sort of Hollywood rummage sale.
Colbert/Cooper grabbed the outline and farmed it out to Harrison (Coming Out Alive and Oscar nominee for Bravery In The Field), while Cooper signed ex-David-Lean-assistant Michael Anderson, by now a famous director with credits dating back to 1949. Luckily, they stole a sneak preview of Shogun. Impressed with Chamberlain, and finding him available, they began to visualize a movie.
On the set of Bells, Anderson demonstrates a sure touch of craft: certainly his confident authority has endeared him to first line d.o.p. Reg Morris (Tribute, Middle Age Crazy,