There was so much footage of the sea battle left over that Charlton Heston used it in his 1972 film Antony and Cleopatra.
A b c d Herman,.
Horning and Edward Carfagno created the overall look of the film, relying on the more than five years of research which had already been completed for the production.Six of the 70mm lenses, each worth 100,000, were shipped to Rome for use by the production.I wanted to be reverent, and yet realistic.It took them 24 nights to burn the set down, longer than the actual 6 days that happened historically.Surtees, who had already filmed several of the most successful epics of the 1950s, was hired as cinematographer for the film.Zimbalist also told Wyler that MGM would spend up to 10 million sexanzeigen frankfurt on the film, and Wyler, impressed with the large budget, agreed to review the script a second time.
You either have a lot of empty space, or you have two people talking and a flock of others surrounding them who have nothing to do with the scene.
126 Musical score edit The film score was composed and conducted by Miklós Rózsa, who scored most of MGM's epics.
This inspired Douglas to make Spartacus a year later.159 Production supervisor Henry Henigson was so overcome by stress-related heart problems during the shoot that doctors feared for his life and ordered him off the set.The costumes went with 15,000 hand-sewn sandals, 13,000 jewelries, 4,000 helmets, 4,000 breastplates, and 2,000 shields.Scheuer of the Los Angeles Times called it "magnificent, inspiring, awesome, enthralling, and all the other adjectives you have been reading about." 153 He also called the editing "generally expert" although at times abrupt.A b Hall and Neale,.Both director William Wyler and Sol.85 Even the smallest details were historically correct.11 Although the budget for Ben-Hur was initially 7 million, 12 it was reported to be 10 million by February 1958, 13 reaching 15 million by the time shooting beganmaking it the costliest film ever produced up to that time."Sidney Franklin Resigns at M-G-M." The New York Times.68 Wyler had met her at the Cannes Film Festival, where she impressed him with her conversational skills and force of personality.Surtees and Wyler worked to overcome this by creating scenes in which one half of the screen is filled with a foreground object while the other half is filled with a background area, and then rack-focusing between the two as the action shifts from foreground.