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.
11
someone with a special reason for this love of dancing. "Why, why?" I kept asking myself. Then one night it came to me. Of course! Who would dream of dancing in more glowing terms than someone forever unable to dance ! From this point on it was easy. Additional scenes were shot for the dances already filmed — climactic scenes which would hint that all was not well, intruding harsh notes into the golden melody of her daydreams. The tennis ballet seemed to suggest itself one day, and with the advent of spring the dance sequences were complete. All that remained was to shoot the real-life thread on which to string the beads of our dance fantasies.
ORIGINAL MUSICAL SCORE An exciting and unusual feature of the production was the possibility of having an original musical score written especially for the film, a bonanza promised by my good friend Dr. Leon Dallin, of the Brigham Young University Music Department. With the film complete, we posed him
the almost impossible task of writing music to fit dances which were already danced. I am content to let the results speak for themselves. To me they are perfect in their emphasis of the desired moods and movement of the film.
The score was played by the BYU chamber orchestra under the direction of Dr. Dallin and recorded on tape. The original of the narrative voice was also made on tape and the two then combined for the sound-on-wire accompaniment seen in the contest.
In closing, permit me a final word of sincere thanks to all those folks who gave generously of their time in the making of In Fancy Free. I cannot here name them all; but each should know my gratitude for the part he played.
THE TENNIS BALLET, seemingly filmed in full 64-frame slow motion, was actually and brilliantly acted that way for lack of sufficient lighting required by high camera speed. Dance shot
above was first recorded on film from various angles against darkened gym, then a spider web pattern (top left) was double exposed in closeup on footage for effect seen at the top right.